


A Serial Killer's Guide to Men and Manslaughter

by incorrigible_rapscallion



Category: Hannibal (TV), Original Work
Genre: Alternate Universe - Coffee Shops & Cafés, Alternate Universe - Hannibal (TV) Fusion, Alternate Universe - Small Town, Anxiety Attacks, Anxiety Disorder, Blind Date, Canon Autistic Character, Crime Scenes, Dark Comedy, Elder Lesbians, F/F, Hannibal (TV) Season/Series 04, Hannigram Dynamics, Implied/Referenced Rape/Non-con, M/M, Minor Character Death, Multi, Nonbinary Character, Rating: PG13, Screenplay/Script Format, Three-legged Service Dog, Tooth-Rotting Fluff, Trans Female Character
Language: English
Status: Completed
Published: 2020-01-04
Updated: 2020-01-15
Packaged: 2021-02-27 12:47:21
Rating: Teen And Up Audiences
Warnings: Graphic Depictions Of Violence, Rape/Non-Con
Chapters: 12
Words: 23,861
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/22107304
Author URL: https://archiveofourown.org/users/incorrigible_rapscallion/pseuds/incorrigible_rapscallion
Summary: "A dating service where matching is based on people's search history exists. You're a serial killer. You go on a date with a writer." -- Tumblr: writing-prompt-s (submitted by: violetwhiskey)This is not that, but also kind of is?This version: What is an anxiety-riddled novelist to do when a charming serial killer begins dating him -- turn the man in or...fall in love?Screenplay format, but give it a shot anyway!
Relationships: Original Female Character(s)/Original Non-Binary Character(s), Original Female Character/Original Female Character, Original Male Character/Original Male Character
Comments: 2
Kudos: 9





	1. ACT I, SCENE I

INT. DAVID’S APARTMENT - DAY

DAVID TRUELOVE's hands are clasped together in his lap, leg shaking, fingers picking at cuticles. David is late-40s, bookishly handsome, and a person of color.

He sits in a well-worn chair at a built-in desk with a wooden bookshelf. A shelf is dedicated to the many works of “David Truelove." There is a long-running adult series and another series dedicated to young readers.

David looks down at an open envelope with a broken wax seal. He then takes out a trusty pocket-sized notebook and scribbles the date, time, and the words:

_Give yourself the freedom to fail. Give yourself the freedom to be free._

INT. KILL ROOM

THOMAS WRIGHT'S hands are open, ready to grab hold of a pull-up bar in his gym-like “Kill Room.” Thomas is mid-50s, distinguished, and of an intimidating height.

There are mirrors on three walls, the fourth displays an array of weapons from all over the world.

Thomas practices martial arts and repeats the same sequences until they are perfect.

INT. DAVID’S APARTMENT

David's phone lights up with an unknown number, but his hand stops just short of answering.

David’s dog named ACHILLES, a mid-sized mutt, perks up at the ringtone. Achilles sits in a leather recliner and follows David’s movements with his eyes.

David gets up and paces around his apartment, tidying. There are framed pictures of David at charity events receiving honorary awards.

David pauses at one, a letter, and reads aloud the words to himself which are written in a child’s blocky handwriting:

DAVID

> "Thank you, Mr. Truelove for coming to my school. I didn’t know that you were in special ed too. I want to be just like you when I go to sixth grade. My name is Henry Bennett by the way.”

David's phone lights up again, this time with a Caller ID reading: “Manager from the Black Lagoon.” He makes a repetitive hand movement before answering.

DAVID (CONT’D)

(on phone)

> Carol, hi. I’m glad you got my message.... Yeah, it’s my Aunt Harriet.... You know how she is, all I got was a letter sealed in wax and a single line reading, “Come quick, this will be the last time we’ll see one another.”

INTER-CUT BETWEEN DAVID/THOMAS - TRACKING

Thomas continues his martial arts routine, but a VICTIM appears suddenly and fights back with clumsy movements.

In a swift maneuver, Thomas strangles his victim then steps back calmly.

Thomas moves to one of the mirrors. There are hatch marks--over fifty--and he adds one more with a permanent marker.

Thomas fixes his hair in the mirror before unlocking an inconspicuous door to the rest of his elegantly furnished house. Thomas continues down a hall.

DAVID (CONT'D)

> ...I don’t know how long it’ll take, a month maybe?.... Just give me a month .... Radio silence, please.... Why wouldn't I be safe?.... No, this won't be like what happened last year.... Look, if you have an emergency, I’ll be in Pleasant Grove.

Thomas passes a room with an elaborate bookshelf. On it, is a familiar set of books by David Truelove. Off to the side is a framed picture of Thomas shaking hands with a CITY OFFICIAL and standing outside his butchery called, “The Wright Place.”

The picture is from a newspaper clipping titled _The Pleasant Grove Gazette._


	2. ACT I, SCENE II

**Summary for the Chapter:**

> In which David arrives in town and finds Aunt Harriet up to her usual antics...

EXT./INT. DAVID'S CAR/PLEASANT GROVE - DAY (TRAVELING)

David drives a 70s-ERA TOYOTA J40 CRUISER. An upbeat song plays from the tape deck. Achilles sits in the passenger seat.

The scenery is picturesque with a valley of colorful trees. David enters into the town of Pleasant Grove--which is, as the name implies, a truly pleasant place to live. The streets are lined with vintage, renovated storefronts and oak trees.

David stops at an intersection.

On one side of the street is a welcoming park. On the other is a cafe patio with a group of WOMEN from THE RED HAT SOCIETY (RHS) seated outside. The RHS ladies make eyes and point at David’s car.

The WRIGHT PLACE BUTCHERY stands on the adjacent corner, with two large windows looking out onto the park and patio.

David continues on to a gravel driveway.

EXT. HARRIET'S HOUSE - DRIVEWAY AND PORCH

David pulls up to a Queen Anne-style house with a porch.

AUNT HARRIET appears in the front doorway with open arms. She is late-60s, willowy, and dressed in eccentric clothing.

Achilles hops out of the car to reveal that he is missing a limb.

AUNT HARRIET

> David, dear. It's been too long.

Harriet pulls him in close with familiarity. David is stiff.

AUNT HARRIET (CONT’D) 

> My darling, always remember to give yourself the freedom to fail--

AUNT HARRIET & DAVID

(reciting together)

> The freedom to feel. The freedom to have fun. The freedom to be free....

AUNT HARRIET

> And the freedom to fearlessly love.

David grimaces at the thought and steps away. Achilles sniffs for attention and Aunt Harriet gushes over him, handing over a hidden treat from one of her many pockets.

Aunt Harriet ushers them inside.

INT. HARRIET'S HOUSE - ENTRYWAY/LIVING ROOM

David leaves his bags in the entryway and follows Aunt Harriet into the living room. It is warmly lit with a fainting couch and two loveseats. The walls are overflowing with oddities and pictures of David and their family.

AUNT HARRIET

> My turtledove, come in, sit.

David is noticeably uncomfortable and needs Achilles to prod him into the room.

DAVID

> I see that you got a new lamp.

David gestures to a statue-style floor lamp, which Harriet appraises with a delicate swipe over its silhouette.

AUNT HARRIET

> Ah, yes. My dear friend Edward procured it the last time he was in Bangladesh.

DAVID

> Edward from the Rotary Club?

AUNT HARRIET

> It's a shame he is too old for you. He's been randy lately, even going over to Pleasant Valley on the weekends, looking for a man. Perish the thought!

DAVID

> Indeed. How awful that must be... Pleasant Valley...

AUNT HARRIET

> Darling, I shared a dressing room with Burnett--I know when I'm being sassed.

David sits on the edge of one of the loveseats and Achilles curls up at his feet, watching Harriet for more treats.

DAVID

> So, how are things?

AUNT HARRIET

> Mein leibling, when have we ever discussed anything so proletarian?

DAVID

> I don't know, maybe since you sent me a vague letter in the mail about how you are dying.

AUNT HARRIET

> Dying? What ever gave you that notion?

David fumbles for her wax-sealed envelope stuck between the pages of his notebook.

DAVID

> When you say things like, "Come quick" and "this is the last time we'll see each other." What was I supposed to think? It's not like I can call you!

AUNT HARRIET

> Of course not, the government has always been monitoring the phone lines.

DAVID

> Are you saying that you are not deathly ill?

AUNT HARRIET

> Do I look deathly ill? Be honest.

DAVID

> There are some new wrinkles around your eyes.

AUNT HARRIET

> Laugh lines, dear, were you raised by plebeians?

DAVID

> Look, I just took off for an entire month to make sure you're alright. I'd like to know if I can go back home.

AUNT HARRIET

> The city is never a home, caro mio. The city is for lonely hearts and criminals who believe that they are the only people to ever experience ennui.
> 
> Home is where you trust your neighbor with your life, your heart, and your house. Tell me, do you feel that kinship in the city?

DAVID

> What I feel doesn't really matter, since I want a simple answer to my question but you keep deflecting.

AUNT HARRIET

> I thought we were having a vibrant tête-à-tête. You must be explicit with these things, you know.

DAVID

> Did you write a fake death note to make me come out here?

AUNT HARRIET

> I would never, perish the thought! My letter wasn't a death note, as you so indelicately put it. I might never see you again, no matter how ill or healthy I may be. That's how the world works because the only universal truth is chaos. I do hope your grade school teachers covered this topic...?

DAVID

> If you're not actually dying, then Achilles and I will be heading back to our halfway house for lonely hearts and criminals.

AUNT HARRIET

> Don't be cheeky, it's terribly unfashionable for a man of your esteem and talents.

David makes to leave, but Harriet halts his movements.

AUNT HARRIET

> Don’t mind me and my odd ways. I’m glad you’re here, I’ve missed you something awful. Perhaps you could stay, even though I’m nowhere near my deathbed?

DAVID

> You could’ve written that in your letter. I would’ve come.

AUNT HARRIET

> Would you?

They arrive at an impasse.

AUNT HARRIET

> In any case, now that you’re here, I have just a few errands for you to run. Be a lamb?

Harriet unfolds and hands over a shopping list written with a fountain pen on parchment paper. David raises an eyebrow.


	3. ACT I, SCENE III

**Summary for the Chapter:**

> In which David runs errands for Aunt Harriet and runs into a certain someone...

EXT. PARK - DAY - LATER

David pulls up in his car to the park. Achilles looks expectantly out the window then at David.

DAVID

(to Achilles)

> Alright. We singlehandedly faced Aunt Harriet and survived. I think we've earned a breather.

A group of TEENAGERS are sprawled out at the park gazebo. Once they see David and Achilles get out, they come bounding over with questions.

TEEN 1

> Can I pet him?

DAVID

> Go right ahead, he's very friendly.

TEEN 2

> He only has three legs, why's that?

DAVID

> He was born with only three legs.

TEEN 3

> What's his name?

DAVID

> Achilles. Can you guess why I named him that?

TEEN 1

> Oh, the Trojan War guy! With the whole heel thing.

DAVID

> Someone has been doing their homework.

SHERIFF LIVINGSTON (O.S.)

> Sir, this isn't a dog park.

SHERIFF LIVINGSTON appears and the teens scamper off. Livingston is young, fresh-faced, and a woman of color with natural hair. She is dressed in civilian clothing, no gun, but with a badge on her belt.

DAVID

> My apologies, this is my service animal, but I left his vest in the car. I can show you his documents if you wish.

Livingston looks skeptically at Achilles.

DAVID (CONT'D)

> If you're wondering about his capability as a service dog, he was raised and trained just like any other assistance animal, except he wasn't going to be selected due to his--let me just go get his papers--

LIVINGSTON

> Would you mind taking off your sunglasses?

DAVID

> Why?

LIVINGSTON

> I know every face in town, but not yours. I'd like to change that.

David removes his sunglasses slowly.

LIVINGSTON

> Oh, you’re David, Harriet’s nephew. Where are my manners--I'm Hannah Livingston. You know, Harriet has pictures of you everywhere; she’s incredibly proud of your career.

David nods, still uncertain and nonverbal. The sound of his breathing progressively escalates as Livingston speaks:

LIVINGSTON

> How do you possibly come up with all those mysteries? They say that everything has already been done before, but your books feel so original. Your killers are nuanced with realistic motivations. I've never met a homicidal manic myself, living out here in Pleasant Grove, so I’d love to pick your brain....

David stops breathing. Achilles rubs up against him urgently and licks his hand. Livingston notices this all too late.

LIVINGSTON

> Maybe some other time.... Don’t worry about the paperwork. Have a good rest of your day.

David exhales once Livingston walks away. He fumbles for his notebook and scribbles the date, time, and the words:

"Sheriff--hiding something important"

INT. SHOPS - DAY - LATER

MONTAGE: DAVID AND ACHILLES ON ERRANDS FOR HARRIET

They pick up packages at the Post Office, Achilles now proudly wearing his service vest. The POSTAL CLERK is gruff and impatient. David walks away from the exchange while scribbling in his notebook the date, time, and the words:

"PO Worker--recent widower."

They stand at the checkout in a quaint grocery store with a selection of produce. The GROCER is frazzled and David scribbles:

"Grocer--skipped lunch break."

They stop by a florist shop and interact with the FLORIST OWNER, who is overly friendly. David scribbles:

"Florist--rebounding from a breakup."

INT. THE WRIGHT PLACE BUTCHERY

The Wright Place Butchery is tastefully decorated with pastoral lighting and decor. There are chair arrangements intended for waiting customers.

David and Achilles stand behind MR. LANCASTER, a veal/mutton supplier. A college-aged clerk, LILY, works the register.

MR. LANCASTER

> ...and you mean to tell me that this shipment is wrong?

LILY

> I wouldn't say wrong, Mr. Lancaster. Just a little off.

MR. LANCASTER

> "Just a little off" means wrong.

LILY

> It's just that July is around the corner, and we need more space for beef and pork cuts--I'll be with you in a minute, sir!--since most families aren't usually looking for veal or mutton hot dogs to celebrate the holiday, you know?

MR. LANCASTER

> Young lady, you have told me absolutely nothing except that I am apparently wrong. Where is Mr. Wright?

LILY

> Mr. Wright just went to check on something in the deep freezer. He'll be back as soon as he can. Until then, why don't you take a seat so I can help the next customer in line.

Mr. Lancaster turns around to see David and Achilles. He doesn't take the proffered seat.

MR. LANCASTER

> This day just keeps getting better, doesn't it?

David and Achilles go to the counter, where Lily greets them.

LILY

> If you're looking to bring home the bacon, you've come to the Wright Place!

DAVID

> I'm here on behalf of Harriet Truelove. I'm picking up her weekly order of hamburger.

LILY

> Oh, I love Ms. Harriet! She always says the funniest stuff. I'll be right back with that order, Mr...?

DAVID

> David is fine.

Lily leaves. David pulls out his notebook and begins to write the date and time, until--

MR. LANCASTER

> A three-legged service dog. I oughta get one of those vests for my miniature pony. Or, better yet, get one for my ten-point buck mount.

DAVID

> Actually, miniature horses are considered an accepted service animal by the ADA, even though they are still recognized as an unorthodox choice due to their size and care. I cannot speak for taxidermy.

MR. LANCASTER

> I guess ol' Harriet is taking them even younger now?

DAVID

> Excuse me?

MR. LANCASTER

> Harriet. You're her latest--what does she like to call it?--"liaison?"

THOMAS WRIGHT (O.S.)

> Mr. Lancaster, finally.

Thomas enters with Lily. He wears a stylish tweed suit. Lily holds David's order, which is wrapped nicely like a present.

Thomas comes around in front of the counter and greets Mr. Lancaster with a warm handshake.

INTER-CUT BETWEEN LANCASTER/THOMAS & LILY/DAVID:

MR. LANCASTER

> I hear that you have some news for me?

THOMAS

> Yes, I was trying to get a hold of you earlier, but I wasn't able to get through on your cell.

LILY

> Here you go, Mr. David. Awww, can I pet your dog?

DAVID

> Go right ahead. He's very friendly.

Lily crouches down to scruff Achilles. Mr. Lancaster motions to her position as he speaks:

MR. LANCASTER

> This little lady informed me that you will not be needing my services this month.

THOMAS

> I certainly hope not! But unfortunately I won't have the space to fit my usual stock of veal and mutton for the next few weeks, what with July coming up and all.

Lily overhears Mr. Lancaster, pauses to listen for Thomas' response, then shares a knowing look with David.

LILY

> I apologize if Mr. Lancaster said something rude to you. He always makes a scene every time he comes in.

DAVID

> You handled him extraordinarily well. I hope that he gets his shipment with Mr. Wright fixed.

LILY

> Oh that? No, he just likes to fuss--I think it's his only joy in life. He knows that we didn't need as much this month. Everything is good to go.

MR. LANCASTER

> I suppose that I will be able to handle the difference. I'm a bit short this season, which is lucky for you.

Thomas begins to usher Mr. Lancaster out the door. In the bustle, Mr. Lancaster bumps into David, causing him to drop his notebook.

Thomas picks it up before David can get a chance.

THOMAS

> No, allow me--

David and Thomas lock eyes as he hands over the notebook.

THOMAS (CONT'D)

> Mr. David Truelove. I'm a fan of your work.

David grips the notebook and jerks away.

LILY

> Oh, you're Mr. Truelove, the author! I should've known, Ms. Harriet has said a lot about you.

David pushes past Mr. Lancaster and leaves abruptly.

INT./EXT. DAVID'S CAR - TRAVELING

David continues across the street to where his car is parked.

Inside the car with Achilles, David exhales and scribbles the date, time, and the words:

"Mr. Wright--serial killer"

David takes a moment before starting his car. Once he backs on to the street, he looks out the passenger window to the The Wright Place.

Thomas stares intently through both the store and car windows to lock gazes once again with David.

David continues down the street and passes Livingston again.

He stays at a stop sign for too long, considering, but a car politely honks behind him. He goes on to Harriet's house.


	4. ACT I, SCENE IV

**Summary for the Chapter:**

> In which David attends a town hall and crosses paths yet again with a certain someone...  
> .  
> .  
> .  
> (I'm still figuring out how to properly import/style/skin basic screenwriting formatting here on AO3--I've been dabbling in html-coding trying to get it to look right. But alas...)

INT. HARRIET'S HOUSE - KITCHEN

David clumsily enters, loaded down by the many groceries and items that he picked up while running errands. Achilles holds a bundle of flowers in his mouth.

Aunt Harriet is readying herself to leave in the entryway, but stops to coo over Achilles and the bouquet.

> AUNT HARRIET  
>  Franny always knows just what I'll like. We'll have to thank her at the town hall tonight.

David moves stiffly into the kitchen, setting down a bag of produce that tumbles out onto the counter and floor.

David shuts his eyes then grips his hair with one hand and makes a fist with the other. The sound of the produce hitting the floor echoes and the ambient noises of the house amplify.

Achilles licks David's clenched hand, allowing it to open up and intentionally stop the reverberating sounds.

Harriet presses her hand between David's shoulder blades. David jumps and flinches away in response.

David makes a repetitive movement with his now-free hands, takes a measured breath, then scruffs Achilles' head. He nods towards Harriet, but avoids eye contact.

> AUNT HARRIET  
>  Perhaps it's best if we stay in tonight. There isn't anything that I don't already know about on the agenda.
> 
> DAVID  
>  Don't worry about me. I just got overloaded. There was more social interaction today than I had expected. I should've known better.
> 
> AUNT HARRIET  
>  No, I should've known better. That was too much to ask of you so soon. I just didn't want to get in the way of you reacquainting yourself with everyone.

David meets Harriet's eyes and responds to her genuine tone with a chagrined expression.

David picks up the fallen produce and begins putting the groceries away.

Harriet exits back into the entryway.

> DAVID  
>  Now that you mention it, I met a Sheriff Hannah Livingston at the park. She says that she is a friend of yours, but you've never mentioned her before.
> 
> AUNT HARRIET (O.S.)  
>  Am I suddenly required to report on every happening in Pleasant Grove when I write each month? I only have so much parchment to dedicate to the daily scandals of our beloved hamlet.  
>  (poking her head in)  
>  Tell me, how are your friends doing?
> 
> DAVID  
>  Achilles is fine, as you can see.
> 
> AUNT HARRIET (O.S.)  
>  A man shouldn't have a dog as the sole source of his social life.
> 
> DAVID  
>  I've been doing just fine so far. I don't plan on changing any time soon.
> 
> AUNT HARRIET (O.S.)  
>  Then why did you come here, if not to find change?
> 
> DAVID  
>  I'm not having this discussion with you right now, not if you want me to go to the town hall tonight.

Harriet enters the kitchen with an opera coat and purse.

> AUNT HARRIET  
>  If that's the case, we should get going if we want the best seats.

David gapes at her then sighs in acceptance.

* * *

INT. TOWN HALL - NIGHT

David, Achilles, and Harriet enter a quaint auditorium.

It is styled like a WPA-built theater from the 1930s but shows signs of modern refurbishment.

TOWNSPEOPLE mill about, chatting and grabbing snacks at a RHS-manned table near the auditorium's entrance.

Harriet goes straight to front row and makes a scene out of draping her coat and purse to "claim" a set of seats.

David follows at a slower pace, wide-eyed and stoic.

BEATRICE LANCASTER, late 60s with retired Prom Queen-looks, stops mid-lecture with The RHS ladies on the stage to watch Harriet's display.

> BEATRICE  
>  Harriet, dear, I'm surprised you were able to make it. Last I heard, you were organizing a protest against the city council elections.
> 
> AUNT HARRIET  
>  The protest was ages ago, keep up. Whatever little birdie you have whispering in your ear obviously hasn't been honest with you.
> 
> BEATRICE  
>  I make a point to only concern myself with truly pressing matters.
> 
> AUNT HARRIET  
>  Like what color the streamers will be for this year's Lollapalooza?
> 
> BEATRICE  
>  At least I know that we'll have streamers this year.
> 
> SHERIFF LIVINGSTON (O.S.)  
>  (through PA system)  
>  If everyone will take their seats, I'd like to get started.

Livingston stands at a podium and patiently waits for the Townspeople's collective attention.

Harriet and Beatrice glare at each other as they sink into their respective chairs simultaneously. David passes in front of Harriet to take his seat, which breaks their showdown.

> SHERIFF LIVINGSTON  
>  (through PA system)  
>  Thank you all for joining us tonight. We have some exciting things on the agenda, like the Christmas in July and Lollapalooza celebrations hosted by our own Red Hat Society chapter. Let's give a round of applause for these hard-working ladies up here with me.

Townspeople applaud. Harriet gives a cursory clap.

David doesn't clap, but takes out his notebook instead. He begins jotting down observations about The RHS and the city council on stage.

> SHERIFF LIVINGSTON  
>  (through PA system)  
>  Before we get to that, let me just go over our "house rules." Please save your personal questions and feedback for when we open the floor to public comments. We also ask that you keep any side conversations to a minimum--as we want every one to be able to hear what the city council has to say about upcoming projects.

Townspeople murmur while Livingston speaks, but settle into silence at the end of her address.

> SHERIFF LIVINGSTON  
>  (through PA system)  
>  Without further ado, let's welcome Beatrice Lancaster from The Red Hat Society to the podium.

Beatrice steps up to Livingston and "air kisses" each of her cheeks as a greeting. Harriet scoffs and speaks to David in an exaggerated whisper:

> AUNT HARRIET  
>  I once organized a charity event with Streisand, so I know all too well how backstabbers operate. And Beatrice "Queen Mother" Lancaster puts even the slimiest ones to shame.

David jerks away from his note-taking when Harriet invokes Beatrice's name. He peruses the Townspeople behind them absentmindedly. David speaks in a normal tone, which earns nasty glances from Beatrice during her own speech:

> DAVID  
>  I believe I ran into her husband today. When I was picking up your hamburger at The Wright Place....

David locks eyes with none other than Thomas, who is seated in a chair adjacent to their spot.

The Townspeople and ambient noises of the room fall away, leaving only the sound of David's escalating breath and knuckles popping as he clenches his hand on his knee.

Thomas gives David a grin and a wink. David stops breathing.

Achilles licks at David's clenched hand. The sudden sound and motion of the action brings the room back into focus.

David unclenches, makes a repetitive hand movement, then scruffs Achilles' head.

> AUNT HARRIET  
>  Gah! That's why you were having a fit earlier. The Lancasters are both arrogant in their ignorance. Most upsetting. Any time spent in the near proximity of either of them would be enough to send a homicidal maniac running to the hills.

David stiffens and flips back to his notebook entry reading: "Mr. Wright--Serial Killer." He firmly shuts the book then stuffs it between his upper leg and the chair.

> DAVID  
>  There was actually something I wanted to talk to you about earlier, before my episode. You know how I am with my "intuition."
> 
> AUNT HARRIET  
>  Yes, of course. That's what makes your writing so engaging and original. You are able to "concisely connect readers to the nuanced behavior and idiosyncrasies of your characters"... at least, that's what the New York Times had to say about _The Turn of the Shrew_....
> 
> DAVID  
>  No, I mean my every day "intuition." The thing that makes me read other people like characters in my books.
> 
> AUNT HARRIET  
>  Stop being cryptic; it's unbecoming and the suspense is killing me.
> 
> DAVID  
>  Let's say, hypothetically speaking, that I was able to intuit someone I met today was a criminal. Or, at least, someone capable of committing a crime.
> 
> AUNT HARRIET  
>  We are all capable of committing crimes, _mon cher_. What makes this hypothetical person any different?
> 
> DAVID  
>  I think that they have already committed the crime before. Many times.
> 
> AUNT HARRIET  
>  It sounds as though there is a reason that they haven't been caught yet then, since you were able to hypothetically intuit them out and about in our hallowed town.
> 
> DAVID  
>  That's the thing. Is there a moral obligation for me to turn in someone who is a potential criminal based only on my instincts and intuition?
> 
> AUNT HARRIET  
>  Has your intuition ever been wrong before?...
> 
> AUNT HARRIET & DAVID  
>  No.
> 
> AUNT HARRIET  
>  Then the moral obligation rests exclusively on your shoulders. You and I are the only ones who know of this hypothetical situation, thus, we are the only ones who know of any potential criminality from this equally hypothetical person.
> 
> DAVID  
>  That did nothing to answer my question.
> 
> AUNT HARRIET  
>  If you want to talk to someone about the everyday practice of moral philosophy, then you should find a friend. Preferably, one that speaks.

Beatrice finishes her speech at the podium and glares again at Harriet as she takes her seat. Harriet smiles cheekily.

> AUNT HARRIET  
>  While we are on this topic of personal growth and change, I have arranged a little soiree for you tomorrow night.
> 
> DAVID  
>  Soiree?
> 
> AUNT HARRIET  
>  Blind date. Think of it as an opportunity to make a friend that will discuss morality with you.
> 
> IRATE MAN (O.S.)  
>  Excuse me, what is being done by the Pleasant Grove police department to investigate the missing persons cases all over the county?

Livingston is back at the podium. The IRATE MAN, mid-50s and fox-like, stands at the rear of the auditorium.

> SHERIFF LIVINGSTON  
>  (through PA system)  
>  Sir, at this time, I ask that you save your questions for when we open the floor to public comments.
> 
> IRATE MAN  
>  I asked a simple question. What is being done by your police department to investigate the slew of missing persons in this area?

As the Irate Man speaks, David opens up his notebook again and records the man's interaction with keen interest.

> SHERIFF LIVINGSTON  
>  (through PA system)  
>  Once again, I will be happy to answer your question, sir, when we open the floor to public comments.
> 
> IRATE MAN  
>  So you are declining to comment at this time.
> 
> SHERIFF LIVINGSTON  
>  (through PA system)  
>  Not at all. Please respect our house rules by reserving your question for public comments. We have just a few more things to discuss before we can turn the microphone over to you.
> 
> IRATE MAN  
>  As you can tell, Ms. Livingston, I do not need the aid of a microphone.

Livingston steps away from the podium and PA system.

> SHERIFF LIVINGSTON  
>  Neither do I, sir. At this time, my department is doing everything we can to investigate the missing persons cases not just here in Pleasant Grove, but around the entire county. When we have more information we can disclose to the public, we will be sure to let all the proper news outlets know.
> 
> IRATE MAN  
>  There. Was that so hard?

The Irate Man sits down, amid alarmed murmurs from the Townspeople. Livingston straightens her belt and stands back at the podium.

> SHERIFF LIVINGSTON  
>  (through PA system)  
>  Now, I'd like to welcome our fire chief, Brian O'Henry, to give us all some safety tips for wilderness survival and wildfire prevention this summer.

BRIAN O'HENRY takes the podium. He is rugged in both his appearance and attitude.

> BRIAN O'HENRY  
>  Hello, Pleasant Grove. The biggest take away I want you to have tonight is to keep a clear head when you are faced with a situation that you are not sure about what to do--

David closes his notebook again and turns to Harriet.

INTER-CUT BETWEEN O'HENRY SPEECH AND CONVERSATION:

> DAVID  
>  This blind date, I take it that skiving out would be a great disservice to your esteemed reputation here in the community?
> 
> AUNT HARRIET  
>  My reputation is ironclad, so nothing you could do would upset my public goodwill. "Skiving out," as you indelicately put it, would only look poorly on you and your conscience.
> 
> BRIAN O'HENRY  
>  Our air quality right now is at a low risk for wildfires, but we do have an electrical storm heading our way in the next couple of days, so practice good judgment when--
> 
> DAVID  
>  More so than my struggling moral compass about turning in a hypothetical criminal to the proper authorities?
> 
> AUNT HARRIET  
>  Morality is dull when compared to the prospect of meeting a potential life-long partner.
> 
> DAVID  
>  I do believe that your romantic inclinations are beginning to show.
> 
> AUNT HARRIET  
>  Perish the thought!
> 
> BRIAN O'HENRY  
>  \--Above all, stay safe out there.

* * *

  
INT. TOWN HALL - LATER

David and Achilles stand at the auditorium entrance.

Harriet "holds court" with a group of Townspeople. The Townspeople laugh with her in earnest. A WOMAN IN YELLOW passes the group and inserts herself into the conversation.

> AUNT HARRIET  
>  Franny, darling, you are looking radiant as ever. I must thank you for the elegant bouquet my dear nephew, David-the-author, picked up today.

David checks his watch and locks eyes with Achilles.

> DAVID  
>  (to Achilles)  
>  Alright, she thanked Franny. Surely that means we can go now.

Thomas passes in front of David and Achilles.

Thomas raises an eyebrow and winks. David's breath hitches.

Thomas leaves through the entrance and David stares after.


	5. ACT I, SCENE V

**Summary for the Chapter:**

> In which David is set up on a blind date with a certain someone...

INT. HARRIET'S HOUSE - ENTRYWAY/LIVING ROOM

David, Achilles, and Harriet crowd together in the entryway, Harriet shucks off her opera coat with restless energy.

> AUNT HARRIET  
>  That was certainly an evening. I haven't seen anyone so explosive and irate about a topic in quite some time. I admire that man's passion, but his tactics were more on par with schoolyard guerrilla warfare.
> 
> DAVID  
>  I think I'm going to turn in for the night, if you don't mind.
> 
> AUNT HARRIET  
>  Of course, _bambino_. Let me know if there is anything else you need.

David nods then shuffles up the stairs with Achilles. Harriet huffs and shakes her head with a small smile.

* * *

INT. HARRIET'S HOUSE - GUEST BEDROOM

The guest bedroom is styled like a Victorian farmhouse.

David collapses on the bed, fully clothed. Achilles whines, but David is already out cold.

MONTAGE: DREAMSCAPE #1

Images of David's interactions from the day's events replay on fast-forward in David's sleep. Each encounter is coupled with the observations that he jotted down in his notebook.

Thomas is the star of this dreamscape, as the meeting at the butchery begins at the same rapid pace as the other interactions, but slows down once it settles on the eye contact he made at the town hall.

A sequence of implausible scenarios involving Thomas in the act of killing someone are added to David's memory:

-Thomas stabbing Mr. Lancaster like a grotesque greeting at the butchery  
-Thomas slitting Lily's throat instead as he walks past her  
-Thomas immediately rushing David into a strangle-hold, both at the butchery and as they crossed paths at the town hall

All of the killings are concluded by a flirtatious wink.

* * *

INT. HARRIET'S HOUSE - GUEST BEDROOM - DAY

David wakes sharply in an uncomfortable position, still dressed in his clothes from yesterday.

Light streams in David's eyes from the bedroom window. Harriet is in the room, opening the curtains.

> AUNT HARRIET  
>  I was about to get the smelling salts if you didn't wake up. Normally, I wouldn't mind a reasonable bout of lethargy, but you have dinner with a fine and distinguished gentleman in the next thirty minutes.

David tosses and turns until Achilles comes to his bedside. David grunts in response and Harriet leaves the room.

* * *

INT. HARRIET'S HOUSE - ENTRYWAY/LIVING ROOM - LATER

David stands impassively as Harriet gives him a "once over."

> AUNT HARRIET  
>  You and I both know that this is the change you came here for.
> 
> DAVID  
>  I didn't want to talk about that last night and I definitely don't want to talk about that now.
> 
> AUNT HARRIET  
>  Then talk about it with your date.

* * *

  
INT. RESTAURANT - ENTRANCE - DAY - LATER

David and Achilles stand in front of a RESTAURANT HOST. The place is whimsically styled after an Italian chateau.

> HOST  
>  You're here for the reservation under "Harriet Truelove," yes? We were expecting you. The other member of your party is already seated.

David peruses the RESTAURANT PATRONS until he sees Thomas.

Once again, the ambient noises and other people fade away as David's breathing escalates. Achilles then calms him down.

Thomas locks eyes with David and smiles in recognition.

> HOST  
>  If you'll follow me, sir?
> 
> DAVID  
>  I'd rather seat myself, if you don't mind.

* * *

  
INT. RESTAURANT - TABLE FOR TWO

Thomas stands as David and Achilles approach the cozy table setting.

Achilles sniffs at Thomas' outreached hand and allows to be petted. Immediately, Achilles becomes docile and rolls over on the restaurant floor for a belly rub.

David watches, horrified, and stops breathing. This prompts Achilles to leap back up in order to lick at David's hand.

Once satisfied, Achilles lays down at David's feet. David gapes at this behavior and sits down at the table.

Thomas hovers with a cheerful expression before sitting too.

> THOMAS  
>  I must admit, I had hoped you would be the mysterious stranger that Ms. Truelove was so adamant about my meeting. I was honest when you came in my shop--I am a dyed-in-the-wool fan of your work.
> 
> DAVID  
>  I suppose you feel that my characters are nuanced and my killers all have realistic motivations.
> 
> THOMAS  
>  Yes, but I feel that that is only skimming the surface when appreciating your writing techniques.
> 
> DAVID  
>  I'm flattered that you've spent so much time analyzing...me.
> 
> THOMAS  
>  Interesting, because you don't sound as though you're flattered.
> 
> DAVID  
>  I have a difficult time socializing and making small talk.
> 
> THOMAS  
>  I'm well aware of your background with your advocacy projects for children and students with special needs. I know that you yourself experienced a discriminatory education growing up.
> 
> DAVID  
>  "Discriminatory" is one way of putting it. Some would say "illegal" by today's standards.

A WAITER comes to the table to deliver a wine sampler tray and a shared appetizer plate.

Thomas gestures for David to eat first, but David declines.

> DAVID  
>  I'm fine with water for now.
> 
> THOMAS  
>  Fair enough. But the tenderloin will pair nicely with the red, if you change your mind.
> 
> DAVID  
>  I take it the tenderloin comes from your own butchery?
> 
> THOMAS  
>  You caught me. I was hoping to impress you by picking a restaurant that exclusively uses my choice cuts. I also hope you don't mind that I ordered ahead for us.
> 
> DAVID  
>  I doubt that I have any choice in the matter anyway.
> 
> THOMAS  
>  Please understand, that wasn't my intention. I simply wanted to demonstrate that I am just as proficient in my own area of expertise as you are.

David takes some food from the appetizer, but doesn't eat it. Thomas picks at his own selection, eating delicately.

They remain in silence until the Waiter comes back to remove their dishes and set down their entree plates.

> THOMAS  
>  I apologize if I said something to upset you in any way. I feel a little out of my element tonight.
> 
> DAVID  
>  You mean that you are able to charm everyone that you take out on a date?
> 
> THOMAS  
>  I confess that I actually don't date very often. I simply meant that dinners and lively discussions are usually my forte. It's why I wanted to be a butcher in the first place--I wanted to understand the fine details that make up a memorable meal.
> 
> DAVID  
>  That's a...tasteful answer.
> 
> THOMAS  
>  And you said you couldn't make small talk!
> 
> DAVID  
>  I really can't. The opportunity presented itself, so....

They lapse into silence again. David still keeps a stoic expression, but Thomas grins anytime they lock eyes.

Both dinner and dessert pass by. The Waiter delivers the check to Thomas for him to look over.

> THOMAS  
>  It looks all good to go. My compliments to the chef.

The Waiter nods and leaves with check, without payment.

David pauses with his credit card and wallet out.

> DAVID  
>  I assumed I would be paying for my half...?
> 
> THOMAS  
>  Of course not. This meal was on the house. All of mine are, considering...
> 
> DAVID  
>  I can at least leave the tip. It was excellent service.
> 
> THOMAS  
>  It always is.

David trades out his card for cash, places it on the table, then stands ungracefully with Achilles. Thomas follows suit.

> THOMAS  
>  Even though this was a less-than-ideal date, I want you to know that I truly enjoyed your company. Perhaps I could convince you to take another chance?
> 
> DAVID  
>  Perhaps. In the meantime, I have some business to take care of. But I'll be sure to let know.
> 
> THOMAS  
>  That's all I could hope for. I'll be waiting.

David nods stiffly and exits with Achilles at his heels.

> DAVID  
>  (mumbling)  
>  Please don't.


	6. ACT II, SCENE I

**Summary for the Chapter:**

> In which David goes sleuthing and runs into some dead ends...

EXT./INT. DAVID'S CAR/PLEASANT GROVE - NIGHT (TRAVELING)

David drives throughout the town of Pleasant Grove at night. Achilles sits in the passenger seat.

David white-knuckles the steering wheel and gear shift as neon store signs and street lamps pass over his troubled face.

MONTAGE: DREAMSCAPE #2

David, once again, replays images of day's events--this time featuring his blind date dinner.

Key images that David focuses on are:

-Thomas seated at their table, waiting for David to arrive  
-Achilles rolling on the floor with oddly docile behavior  
-Thomas with a cheerful expression  
-Thomas with a concerned expression  
-Thomas with a vacant expression  
-Thomas cutting into the meal's tenderloin with a steak knife

This segues into another sequence of implausible scenarios involving Thomas killing someone during their dinner:

-Thomas breaking Achilles' neck while the dog waits for a belly rub  
-Thomas grabbing the Waiter's pen and stabbing it in their neck  
-Thomas lunging across the table to, once again, strangle David

Like before, all of the killings are concluded with a flirtatious wink.

END OF MONTAGE:

David stops breathing and Achilles licks at his hand on the gear shift. David pets Achilles' head as he calms down.

David notices that the lights are on inside the PLEASANT GROVE POLICE STATION as he approaches it at an intersection.

David abruptly pulls into the parking lot.

> DAVID  
>  (to Achilles)  
>  Let's do the fandango, buddy.

He exits the car with Achilles and single-mindedness.

* * *

INT. PLEASANT GROVE POLICE STATION - NIGHT

David enters an empty yet nostalgically-attractive lobby. It splits in two different hallways. There are small signs above each door that indicate each department, reminiscent of 40s-style administrative offices.

David zeroes in on the "Records and Evidence" sign. He walks forward confidently despite the sound of his footsteps carrying in the quiet.

* * *

INT. RECORDS AND EVIDENCE OFFICE

David reaches a room not unlike a library, teeming with shelves of files. There is a WOMAN WITH BIFOCALS humming to herself at the back of the stacks.

David clears his throat. The Woman doesn't respond.

> DAVID  
>  Excuse me, ma'am?

The Woman still doesn't respond, but instead shakes her hips at the song she is humming. Eventually, after an exaggerated lip sync performance, the Woman notices David with a start.

> WOMAN WITH BIFOCALS  
>  Cheese and crackers!

The Woman comes forward to a banker's desk. Her name tag is upside down and reads, "Dotty."

> DOTTY  
>  What can I do for you, honey bun?
> 
> DAVID  
>  I'm here to request any cold case files that you might have for missing persons.
> 
> DOTTY  
>  It's awfully late for something like that. Usually we need something first, what is it called...?
> 
> DAVID  
>  A release request?
> 
> DOTTY  
>  No, not that...Actually, yes. A release request.
> 
> DAVID  
>  Can I get one started then?
> 
> DOTTY  
>  No.
> 
> DAVID  
>  Why not?
> 
> DOTTY  
>  We don't have any, what did you say you needed?
> 
> DAVID  
>  Missing persons reports, specifically any that are on "Cold" status.
> 
> DOTTY  
>  We don't have any of those.
> 
> DAVID  
>  Any of what?
> 
> DOTTY  
>  Missing persons, cold cases.
> 
> DAVID  
>  I don't understand. You mean to tell me that in all of these records, there is not one missing person file? Or a cold case?
> 
> DOTTY  
>  No.
> 
> DAVID  
>  What do you mean, "no"?
> 
> DOTTY  
>  No, we don't have any missing persons. This is a safe town. Nothing ever happens here.
> 
> SHERIFF LIVINGSTON (O.S.)  
>  What seems to be the problem?

Sheriff Livingston enters holding two coffees.

> DOTTY  
>  Oh, nothing darling! This young man just wanted to see, what did you say you wanted?
> 
> DAVID  
>  Missing persons reports.

Sheriff Livingston strides forward and places one coffee on Dotty's table. She uses her free hand for Achilles to sniff before patting him on the head.

> DAVID  
>  I think you can gather why I might want to look into them, Sheriff.
> 
> SHERIFF LIVINGSTON  
>  Please, call me Hannah. Everyone does. As a matter of fact, I wanted to catch you after the town hall last night. I was serious when we met at the park; I'm incredibly interested in picking your brain on the criminal mind. We don't get a lot of action here in Pleasant Grove, so it'd be nice to "talk shop," as it were, with someone from the big, bad city.
> 
> DAVID  
>  I just have an overactive imagination. Nothing special.
> 
> SHERIFF LIVINGSTON  
>  On the contrary, I think an imagination is something that is uncommonly special. Dotty can relate to that, right Dotty?
> 
> DOTTY  
>  (searching for her glasses, which she is already wearing)  
>  Hmm?
> 
> SHERIFF LIVINGSTON  
>  But back to your request. You said you wanted to look at missing persons reports?
> 
> DAVID  
>  That man at the town hall seemed to think that the whole county is rife with unsolved crimes. Why would he so fervently believe that if, as you say, you don't "get a lot of action here?"
> 
> SHERIFF LIVINGSTON  
>  I've never seen that man before. I think that he just wanted to cause a controversy over pure speculation. It's possible that he was a journalist from Pleasant Valley wanting a scoop on us for whatever reason.
> 
> DAVID  
>  Regardless, I'm curious about the missing persons that he brought up. Dotty informed me that you don't have any.
> 
> SHERIFF LIVINGSTON  
>  That would be correct. All of our cases are closed. I've gone to great lengths to make sure that we, as a department, provide answers for families that are looking for them.
> 
> DAVID  
>  What does that mean?
> 
> SHERIFF LIVINGSTON  
>  We have a large forest and mountain ranges that are prone to landslides surrounding this area. This means that all the deaths and disappearances in our town have reasonable and natural explanations.
> 
> DAVID  
>  What does the State have to say about your lack of hard crime reports?
> 
> SHERIFF LIVINGSTON  
>  They've been more than understanding about our situation. We, quite tragically, had a fluke electrical fire break out in our old department building. All of our old files, including our former sheriff, went up with it. This room contains all the documents that we were able to recover.

David takes note of the singed file-folders on the shelves and Dotty, who has gone back to humming in the stacks.

> DAVID  
>  I suppose that is, as you say, a reasonable and natural explanation. Since you have nothing here to offer me, I'll be on my way.
> 
> SHERIFF LIVINGSTON  
>  As will I. I'd love to stay and chat, but I have some paperwork to take care of--burning the midnight oil today, right Dotty?  
>  (Dotty continues humming and dancing)  
>  Please don't be a stranger, David.
> 
> DAVID  
>  Likewise, Sheriff... Dotty...

David waits for Sheriff Livingston to leave. She doesn't, instead clearly waiting for David to leave first. They are at a standstill of manners.

Sheriff Livingston breaks it with an amused smile and salutes Achilles as she exits the room.

David promptly pulls out his notebook from his back pocket and begins writing:

"Sheriff--expert liar, covering her tracks?  
"Pleasant Valley?"

David exits but Dotty, who has been humming and dancing, removes her glasses and keenly watches him as he leaves.


	7. ACT II, SCENE II

**Summary for the Chapter:**

> In which David attempts more sleuthing and encounters a deeper conspiracy and unlikely allies...

EXT./INT. DAVID'S CAR/PLEASANT GROVE - NIGHT (TRAVELING)

David opens the door to the passenger side and Achilles takes his usual spot. David climbs in and stares out the windshield into the darkly lit park across the street.

He turns the keys in the ignition. He pulls onto the main road through town and glances over at Achilles.

MATCH CUT TO:

EXT./INT. DAVID'S CAR/PLEASANT GROVE - DAY (TRAVELING)

When David looks back at the road, it is daytime.

He comes to the intersection that houses the Wright Place Butchery and the cafe at which the RHS ladies sit, kibitzing.

This time, David takes note of the RHS ladies ogling him. He grimaces and turns back to a city and mile sign at the intersection.

The sign reads: "Pleasant Valley 36 / Pleasant View 52"

David continues on, the scenery still as picturesque as before. Once again, David drives through winding roads on a mountainside. A beautiful cloud formation hovers in and around the area.

* * *

EXT./INT. DAVID'S CAR/PLEASANT VALLEY - DAY (TRAVELING)

At last, David enters the town of Pleasant Valley.

Unlike the quaint feel of Pleasant Grove, Pleasant Valley is upscale and styled after mid-century modern architecture.

David locates the City Hall and police station easily.

David parks and locks eyes with Achilles.

> DAVID  
>  Let's go get some evidence, bud.

* * *

INT. PLEASANT VALLEY PD - DAY

This police station has an art-deco design. It is bustling with activity, but no one pays David and Achilles any mind. David navigates his way to the Records and Evidence department.

A SULLEN STUDENT wearing beatnik clothing and reading a pulp novel sits at the intake counter.

> SULLEN STUDENT  
>  State your purpose and reason for existing.
> 
> DAVID  
>  Purpose? To catch a killer. Reason for existing? Still trying to figure that out.
> 
> SULLEN STUDENT  
>  You're the first guy to actually give me an answer.  
>  (closing book)  
>  What can I do ya for?
> 
> DAVID  
>  I'm here to start a release request for any missing persons or cold cases that you have on file.
> 
> SULLEN STUDENT  
>  No need. You can look at anything you want as long as I supervise and the documents don't leave the building.

Sullen Student slinks off into the deep filing area.

> SULLEN STUDENT (O.S.)  
>  Also don't take any pictures or scans of anything. You can take notes, I guess. And sign in, I forgot to mention that.
> 
> DAVID  
>  (signing the sheet on the desk)  
>  What got you into police work at such a young age?
> 
> SULLEN STUDENT (O.S.)  
>  I needed the volunteer hours.

Sullen Student enters with a push cart of filing boxes and comes around in front of the counter.

> DAVID  
>  Volunteer hours?
> 
> SULLEN STUDENT  
>  For Honor Society. I'm the president.

Sullen Student goes back to their seat behind the desk and continues reading their book.

David sets up shop at a neighboring table and opens the first box labeled "Status: Cold. 2010-[blank]"

The file on top contains a supplemental homicide report.

> DAVID  
>  (mumbling)  
>  Let's do the fandango.
> 
> SULLEN STUDENT  
>  Whatever floats your boat, dude.

MONTAGE: GATHERING EVIDENCE

David focuses on the descriptions of the case. He starts a new page from the back of his notebook and begins copying down information.

Key phrases jump out:

  * _Mixed weapons used;_
  * _unknown relationship to victim;_
  * _unknown circumstance proceeding murder_



David flips to the next file and begins creating a list of information with tallies for similarities between them.

Key phrases jump out from the other cold case files:

  * _cutting instrument used;_
  * _strangulation used;_
  * _blunt instrument used;_
  * _hands, fists, feet, etc. used_



All the files that David is interested in have unknown relationships and circumstances proceeding the murders.

By the end of the box, David has compiled a list with the most common methods used: strangulation and mixed weapons having the highest number of tallies.

David starts back into the stack again, this time making a list of the victims' occupations.

Key phrases jump out:

  * _real estate owner;_
  * _dentist;_
  * _dairy owner;_
  * _school district superintendent;_
  * _county recorder;_
  * _justice of the peace,_
  * _and--_ most damning of all _\--the former elected city sheriff_



David gives a shout of surprise.

END OF MONTAGE:

> SULLEN STUDENT  
>  Whoa, you alright there?  
>  (sitting cross-legged on the floor, petting Achilles)  
>  I tried to ask earlier for permission to pet your dog, but you were kinda out of it. I get that way too sometimes. Hyper-focus and all that.
> 
> DAVID  
>  Hyper-focus... Could you tell me your perspective on what happened to the former sheriff?
> 
> SULLEN STUDENT  
>  What's it to you?
> 
> DAVID  
>  I'm catching a killer, remember?
> 
> SULLEN STUDENT  
>  (not so sullen anymore)  
>  So here's the thing--no one believes me, but I think that this whole place, this whole city I mean, is corrupt. I'm talking mafia-level conspirators. It's the only makes sense. I've watched a ton of organized crime documentaries and there is definitely something shady going on here. For instance, think about all those files you just looked through--yeah, I've read them too.  
>  (leaning forward intensely)  
>  Almost all of those cold cases are eerily similar, right? They all have immediate dead ends. It's almost like the investigators didn't want to follow up on these cases. They're covering their tracks by sheer negligence. I think the last sheriff got in their way or made someone mad, so he had to get the axe. But everyone here doesn't seem to notice; they are all super happy with everyone's replacements. But not me, I see the truth of it all. And it's definitely the mafia.
> 
> IRATE MAN (O.S.)  
>  Don't tell me you're trying to convert yet another poor soul into your tin foil hat club, Casey Andrews.

Irate Man enters the room. He carries a folio and a stack of developed photographs.

> CASEY  
>  Awww, I hadn't even gotten to the best part yet with the mind control chicken nuggets and secret bunker under the football field!  
>  (taking in David's shocked expression)  
>  I'm kidding. That would be crazy.

Irate Man greets Casey from the floor with a one-handed yet intricate secret handshake.

> IRATE MAN  
>  Sorry, do I know you?
> 
> DAVID  
>  No, but we were at the same town hall meeting a couple of nights ago. In Pleasant Grove.
> 
> IRATE MAN  
>  Ah, right. I remember your dog. You probably remember my... cross-examination of Sheriff Livingston.
> 
> DAVID  
>  That's one word for it. You actually inspired me to investigate the missing persons reports in town. Or, lack thereof.
> 
> IRATE MAN  
>  It's freaky, isn't it? All those files and not a single missing person. Even though our newspaper here in Pleasant Valley has printed a number of disappearances and suspected homicides in the area. Strange stuff. Name's Mick, by the way. Mick McMillan.

Mick sets his folio on the desk and David stands in greeting.

> DAVID  
>  David...Truelove.
> 
> MICK  
>  (shaking David's hand like it's a contest)  
>  Huh, you should write bodice-rippers with that kind of last name.
> 
> CASEY  
>  Actually, he writes crime thrillers. He's pretty prolific too.
> 
> MICK  
>  A novelist, eh? I'm not too big on reading fiction, more of a "just the facts" man myself.
> 
> DAVID  
>  Understandable. Now, what do you think is happening around here? Casey says that it's--
> 
> MICK  
>  \--the mafia, right?
> 
> CASEY  
>  Well, it is! You just refuse to see the truth right in front of your eyes!
> 
> MICK  
>  I'm interested in answers, that's all. I am a private investigator and I've been hired by a "concerned citizen" to uncover the systemic issues with all these supposedly solved cold cases. As cliche as it sounds, every town has its secrets. I'm simply attempting to unravel them.
> 
> DAVID  
>  Sounds daunting. But you also didn't answer my question. What do you think is going on?

Mick shares a dark look with Casey.

> CASEY  
>  Go on, tell him. He's legit. He's been pouring over these documents all day just like we both did.
> 
> MICK  
>  I think...that there is an active serial killer in this area.

David schools his expression and closes his notebook tentatively, hiding it behind some papers on the table.

> MICK  
>  I know, I know, that sounds outrageous. Casey's mafia conspiracy is probably more likely to happen than a murderous psychopath rampaging across Pleasant county. But... actually, let me show you what I'm talking about.

Mick pulls a desk lamp over to his folio folder and takes out his stack of developed photographs. Casey and Achilles get up off the floor and observe what Mick has to offer.

> MICK  
>  I listen to the police scanners as much as the next guy. But whenever a call is placed on any hard crime activity or disappearance, I try to head out to where the action is. This is what I have to show for it...

Mick selects a photo from the stack. It is of a crime scene, but the focus is on the crowd that is gathered around the cordoned off perimeter.

> MICK (CONT'D)  
>  You know what they say about serial killers liking to stay behind and put themselves in the hubbub after the fact. Well, I've noticed that there are a couple of guys that could be our unsub...

Mick fans out other photos which he has circled familiar faces in red ink at different crime scenes.

All the faces are unfamiliar. Except for one--Thomas Wright. He is caught on film at three sites.

David breathes heavily and Achilles whines. He scruffs Achilles' fur in order to hide his reaction.

> MICK  
>  I believe that these guys are the biggest break I've gotten so far. I've already met with two of them. They seemed pretty normal and had credible alibis for being sighted at multiple crime scenes. But I haven't ruled them out until I meet with the other three.
> 
> DAVID  
>  That's reasonable, I suppose.
> 
> MICK  
>  Say...you haven't noticed any of these fellas in and around Pleasant Grove, have you?
> 
> DAVID  
>  Sorry, no. I just got into town a couple of days ago. I'm taking care of some...estate things.
> 
> MICK  
>  Then I recommend that you keep your eyes peeled. I stay mostly on this end of the county but it would be nice to have boots on the ground in the Grove community, if you know what I mean.
> 
> DAVID  
>  I don't how much help a novelist will be then for your investigation. I was just curious about looking into a real mystery.
> 
> MICK  
>  Can't fault ya about that. Say, here's my number and email. Get in touch if you ever want to take your little mystery a step further.

Mick picks up one of the photos with Thomas' face on it and scribbles his info on the back.

David takes this as his cue to begin packing up the documents in their respective boxes.

> CASEY  
>  Hey, don't worry too much about making sure it's all neat and orderly. I'll take care of it tomorrow. It'll give me something to do other than wait for the sweet release of death.

Casey places the boxes back on the push cart and takes them behind the intake counter. Casey turns off the lights to the filing room and closes down the intake window.

David hurriedly straightens up and waves goodbye before exiting with Achilles.

Casey walks back to Mick, who affectionately ruffles their hair.

> CASEY  
>  Dad, you're ruining my cool! And I worked so hard at it!

Casey notices David's notebook still sitting on the desk.

> CASEY  
>  It looks like Mr. Truelove forgot this. We should've gotten his number...

Mick inspects the outside and inside flaps for contact information.

> MICK  
>  Hmm, no address... Oh, now that's interesting...

Mick turns to the page in which David had jotted down his initial observations of the shop owners when he first arrived in Pleasant Grove.

Mick focuses on the most important line:

"Mr. Wright--serial killer"


	8. ACT II, SCENE III

**Summary for the Chapter:**

> In which David gets caught in a storm and then gets caught by a certain someone...

EXT. PLEASANT VALLEY PD - NIGHT

It is pouring rain outside. David and Achilles stand under an awning from the police station looking at the flooding parking lot.

> DAVID  
>  (to Achilles)  
>  If it's just a little rain, we'll be fine.

Thunder sounds in the distance.

> DAVID (CONT'D)  
>  This is fine, we'll be fine.

Achilles whines.

* * *

INT./EXT. DAVID'S CAR/PLEASANT VALLEY - NIGHT (TRAVELING)

David is the only driver on the valley pass. His driving is scored by the sound of heavy rain and thunder.

The windshield wipers are at the highest setting and the defroster on the car barely works, so David has to wipe at the foggy windshield.

> DAVID  
>  (like a jingle or mantra)  
>  This is fine, we'll be fine, this is fine, we'll be fine...

David passes a forest service road sign but continues on.

Suddenly, David encounters a landslide that has spilled onto the highway. David immediately slams on the breaks and throws an arm out to keep Achilles in his seat.

David puts on a coat from the backseat and gets out of the car to inspect the road.

The debris is thick and still flowing. David checks his phone but there is no cell service.

Resigned, David gets back in the car and backtracks to the forest service road.

* * *

INT./EXT. DAVID'S CAR/FOREST (TRAVELING)

David switches over to 4-wheel drive and continues through the forest. He turns on the radio for weather coverage, but the signal goes in and out.

> DAVID  
>  This is fine, we're going to be fine.

Then the car gets stuck in the mud. David reverses, but the tires simply spin out.

David gets out again to inspect the situation with a flashlight, but doesn't like what he sees.

David returns to the car and shuts it off. He pulls out a map of the area and finds the route he has taken so far.

> DAVID  
>  It looks like we're only half a mile from Pleasant Grove. We should just try to hoof it into town.

David gets back out with Achilles, the flashlight, the map, and his phone. He pins their location and switches over to a compass app.

After a few paces, David notices a residential fence.

> DAVID  
>  See? We've already hit civilization.

Navigating the perimeter, David and Achilles make their way to onto a gravel driveway.

* * *

EXT. HOUSE IN THE FOREST - NIGHT

The house is upscale and has a 20s-style craftsman design and has a light on in the front porch entryway.

David folds up the map and puts the flashlight away as he approaches the door. Both he and Achilles shake the rain water off like twins. Their safety is short-lived.

Just before he can ring the doorbell, David is knocked out.

* * *

MONTAGE: DREAMSCAPE #3

INT. BUTCHERY COLD ROOM

David hears something squick and sloosh.

He wakes on a metal preparation table. He notices meat hanging all around him, uncarved and pretreated.

There is movement above David's line of sight. It is Thomas, and he is carving into David's chest.

David is paralyzed as Thomas lifts out David's still-beating heart. Thomas observes it like it is a work of art and presses a kiss to it.

When he comes away, his lips are bloody and he smiles lovingly in David's direction. Like all the dreams before, Thomas seals this one with a flirtatious wink.

* * *

INT. THOMAS' HOUSE - LIBRARY - LATER

David wakes looking at a ceiling fan. The light is dim and flickers. David spots Achilles curled up, dry, and sleeping in front of a fireplace.

There is an elaborate bookshelf containing a wide selection of books, but David immediately recognizes a set of his own works on the shelf.

David lays stretched out on a bath towel atop a dark upholstered couch.

His coat and shoes are gone. His map, flashlight, and cell phone sit on a coffee table in front of him. The coffee table also has a glass of water and a plate with painkillers.

David sits up and disregards both of these offerings, but pockets his cell phone. His ears ring and he wobbles from the pain and disorientation.

David goes to the bookshelf to inspect a collection of photographs on the wall. The photos document:

-Thomas as a child at boarding school  
-Thomas receiving degrees in culinary arts and business communication  
-Thomas in front of his shop shaking hands with a city official

David surveys the rest of the room. He creeps towards the only door and opens it to listen for activity.

The lights are on in the hallway, but there is no one to be found.

Looking back at Achilles, David hesitates, but exits the room.

* * *

INT. THOMAS' HOUSE - HALLWAY (TRACKING)

David enters a hallway that leads to a foyer. David notices his coat and shoes in a mudroom at the front door.

David has a straight shot to escape, but he pauses again to listen for activity.

There are sounds coming from a kitchen on the opposite side of the house.

David measures each step as he makes his way to the front door. He keeps a hand softly tracing the wall for balance.

After a few paces, he feels an odd dip in the wall. Focusing on the discrepancy, David looks back and forth between his freedom at the front door and his curiosity over the wall.

The curiosity wins out and he pushes into the wall, which opens into a secret room.

* * *

INT. KILL ROOM

David enters the gym-like space. The lights are motion activated, so David shuts the hallway door behind him.

David surveys the room and walks closer to the racks of mixed weapons on the farthest wall. Intrigued, he reaches out to pick one up, but stops himself.

Then he spots the series of hatch marks written in permanent marker on the mirror. He quickly tallies them.

> DAVID  
>  ...Forty-five, fifty, fifty-three... Shit.

David takes out his phone and snaps pictures of the weapons and a close-up of the hatch marks.

David quickly exits the way he came.

* * *

INT. THOMAS' HOUSE - LIBRARY - LATER

David enters and hastily advances towards Achilles, who is still asleep in front of the fire.

David prods Achilles awake but pauses, weighing his options.

> DAVID  
>  (to Achilles)  
>  Let's do the fandango, bud. For real.

David leaves Achilles at the fire and stands determinedly at the bookshelf, facing away from the door.

David hears footsteps approach, but doesn't react.

> THOMAS (O.S.)  
>  See something you like?
> 
> DAVID  
>  What would you do if I said yes?

David turns around to find Thomas dressed casually in a sweater and lounge pants holding a tray with tea and food.

> THOMAS  
>  I would be terribly pleased with myself. Which would lead to an unwarranted boost to my ego.

Thomas steps closer to David but changes direction to set the tray down on the coffee table.

Thomas observes the unused water and painkillers then takes a seat in an armchair next to the fire. His face is lit halfway in the dark and light.

> THOMAS (CONT'D)  
>  There is a time and place for self-love -- for what the French call _amour propre_ \-- but I find that it often gets in the way of what I truly want.
> 
> DAVID  
>  It sounds as though you've been talking with Aunt Harriet too much.
> 
> THOMAS  
>  That may be, but it's only because she is a woman of singular tastes and I can thoroughly appreciate that in a conversation partner. What is it that you look for, David? In a conversation partner, I mean.
> 
> DAVID  
>  I look for what everyone looks for: a pair of ears and a pair of eyes. It's as simple as that.  
>  (gesturing to Achilles)  
>  Lucky for me, I take my conversation partner everywhere I go.
> 
> THOMAS  
>  That must make for many one-sided conversations, if that is the case. Perhaps I am not the only one suffering from a prolonged bout of _amour propre_.  
>  DAVID  
>  If you are to believe Aunt Harriet, then yes.
> 
> THOMAS  
>  And if I want to believe you?
> 
> DAVID  
>  ...also yes.
> 
> THOMAS  
>  Good. That puts us on equal footing. Which is something else that I seek in a partner. For conversations.
> 
> DAVID  
>  Likewise. Speaking of equal footing, are we going to address the elephant in the room?
> 
> THOMAS  
>  Which one?
> 
> DAVID  
>  How about the one where I blacked out and woke up in your living room.
> 
> THOMAS  
>  Library. The living room is upstairs.
> 
> DAVID  
>  I probably would've known that had I entered your home with my full faculties like a normal house guest.

Achilles lifts up drowsily at David's raised tone, but turns over on his back to sleep in a different position.

> THOMAS  
>  How's your head? You really should take the ibuprofen.
> 
> DAVID  
>  My head is fine.

Thomas leans forward and uncovers the plates of food.

> THOMAS  
>  I also prepared some oatmeal. I didn't know how you prefer to take it, so it has all the fixings.
> 
> DAVID  
>  I take it how I like my conversation partners: plain and straightforward.
> 
> THOMAS  
>  Interesting. I prefer the finer arts of wit and wordplay. I assumed you would feel the same...?
> 
> DAVID  
>  I do, when the situation arises.
> 
> THOMAS  
>  And has it? Arisen?
> 
> DAVID  
>  That has yet to be determined.
> 
> THOMAS  
>  Fair enough. You really should eat something though. I promise, nothing in this spread will render you unconscious. Again.

David slowly paces back to the couch, careful to not show his instability from the head injury.

> DAVID  
>  So is there a straightforward reason for why I had to be rendered unconscious at all?
> 
> THOMAS  
>  I admit that I am a bit of a security enthusiast. I was alerted immediately when you stepped on my property, but I thought you were someone else.
> 
> DAVID  
>  Someone else with a dog that deserved to get knocked out at your front door?
> 
> THOMAS  
>  Sadly, the whole situation will only become more absurd if I try to explain every detail to you at the present time. Suffice it to say, I've always been honest with you. Just not as straightforward as I could be.
> 
> DAVID  
>  You do realize that raises more questions than answers.
> 
> THOMAS  
>  Of course. But I find that a healthy dose of mystery keeps a conversation stimulating.
> 
> DAVID  
>  If you can't tell me why you knocked me out, can you at least tell me how I got here?
> 
> THOMAS  
>  How do you think?
> 
> DAVID  
>  I don't know, I'm imagining myself as swooning and being carried like a damsel in distress.
> 
> THOMAS  
>  That would be an accurate description. You don't weigh all that much. Which is probably due to the fact that you refuse to eat.

In response, David reaches for a spoonful of oatmeal, but instead picks up a cup of tea. He doesn't drink it.

Thomas acknowledges this by picking up a cup of tea as well.

Together, they both sip simultaneously with locked eyes.

> DAVID  
>  Loose leaf?
> 
> THOMAS  
>  Of course. If you hadn't already guessed, I'm a bit of a purist when it comes to my palate. And appetites.
> 
> DAVID  
>  Do you know why I'm here?
> 
> THOMAS  
>  I would hope that it is to find a stimulating conversation partner. But I know that that is not the case.
> 
> DAVID  
>  I just came from Pleasant Valley. I was at the police department all day. Researching their cold cases and missing persons reports.
> 
> THOMAS  
>  I assume you took that man from the town hall the other night at his word.
> 
> DAVID  
>  I did.
> 
> THOMAS  
>  And? What did you uncover?
> 
> DAVID  
>  A common denominator.
> 
> THOMAS  
>  Is that the amateur detective or the novelist speaking?
> 
> DAVID  
>  Does it matter? I still found an answer.
> 
> THOMAS  
>  And was the answer what you needed to hear or what you wanted to hear?
> 
> DAVID  
>  Does it matter?
> 
> THOMAS  
>  To me? Yes. Greatly.
> 
> DAVID  
>  The answer led me back to you, if that's what you're asking.
> 
> THOMAS  
>  Why would you tell me this if you found out such an answer?
> 
> DAVID  
>  I'm being plain and straightforward. I'm also curious to see what you do next with this information.

A car honks outside.

> THOMAS  
>  Ah, that would be the cab I called when I heard you stumbling around in the hallway earlier. I think it would be best if you got home safe and sound, especially since you don't have a car for the time being.

* * *

INT. THOMAS' HOUSE - ENTRYWAY

David steps into his shoes next to Achilles at the front door. David straightens as Thomas enters the mud room.

He gets close in David's personal space and David stops breathing. But it is simply for Thomas to grab David's coat hanging up behind them.

Thomas holds it out for David to put on easily. David does, maintaining eye contact as long as possible.

* * *

EXT/INT. HOUSE IN THE FOREST/CAB - DAY

It is no longer raining, but the ground is wet.

Thomas holds the door open for David and Achilles as they enter the backseat of a classic yellow cab.

Thomas shuts the door and knocks on the passenger-side window. The CABBIE, middle-aged and friendly looking, rolls it down to talk.

> CABBIE  
>  Heya, Mr. Wright. Whereabouts are these two fellas headin'?
> 
> THOMAS  
>  Harriet Truelove's place. At the end of the main drag.

Thomas passes a wad of cash through the window.

> CABBIE  
>  Easy-peasy. Pleasure doing business with you.

Thomas locks eyes once again with David.

> THOMAS  
>  Likewise. And you should expect a token of my appreciation by the end of the day.

The Cabbie drives away and David watches Thomas as they do.


	9. ACT II, SCENE IV

**Summary for the Chapter:**

> In which David receives a slew of grand gestures from a certain someone...

EXT. HARRIET'S HOUSE - DRIVEWAY AND PORCH - LATER

Sheriff Livingston's cop car is parked in the driveway as David and Achilles exit the cab.

Aunt Harriet and Sheriff Livingston enter onto the front porch. Aunt Harriet greets Achilles with scritches and a treat. The same cannot be said for David.

> AUNT HARRIET  
>  We were ready to call in a search party for the both of you.
> 
> DAVID  
>  I'm a grown adult and I haven't even been gone for more than 24 hours.
> 
> SHERIFF LIVINGSTON  
>  That is a common misconception. Missing persons should be reported as soon as their disappearance is a cause for concern.
> 
> DAVID  
>  How would you know that, Sheriff, since there are no missing persons here in Pleasant Grove?
> 
> SHERIFF LIVINGSTON  
>  I never said we don't have missing persons reports. I simply said that all of them are closed. With reasonable and natural explanations.
> 
> DAVID  
>  What would've been the "reasonable and natural" explanation for my potential disappearance then? Lost in a landslide? Lost in the forest? Lost in a fluke fire?
> 
> AUNT HARRIET  
>  I don't know what either of you are talking about, but I'm just happy you're home. David, my turtledove, why don't you get cleaned up? Sheriff Livingston is no longer needed here.

* * *

INT. HARRIET'S HOUSE - ENTRYWAY/LIVING ROOM

David enters the house, but keeps the front door cracked open as he shucks off his shoes and coat.

David overhears Aunt Harriet and Sheriff Livingston conversing in hushed tones on the porch.

> SHERIFF LIVINGSTON (O.S.)  
>  I'm not sure...if...right...place.
> 
> AUNT HARRIET (O.S.)  
>  He...needs...we all know it...
> 
> SHERIFF LIVINGSTON (O.S.)  
>  Maybe...right...time...then...

David shuts his eyes as the ambient sounds of the house amplify. His heartbeat echoes and his ears ring.

Achilles licks at David's hand. David pulls himself out of the spell and rubs Achilles on the head. His demeanor is cold and restrained.

David exits the entryway by going upstairs. Achilles stays put and whines.

* * *

INT. HARRIET'S HOUSE - ENTRYWAY/LIVING ROOM - LATER

David enters from the stairs. He wears a new outfit and his hair is wet from a shower.

> AUNT HARRIET (O.S.)  
>  Are we going to talk about your sudden and unprompted exodus last night?

David turns to see Aunt Harriet seated in the living room on her fainting couch. Achilles is curled up at her feet.

David enters the space but stays standing within the doorway.

> DAVID  
>  Once again, I'm a grown adult. If you were well and truly worried, you could've used a neighbor's phone--hell, even Livingston's phone at the police department--to call me. You have my cell number.
> 
> AUNT HARRIET  
>  Pish. Can't I be concerned about my only nephew?
> 
> DAVID  
>  Concern is calling me. Theatrics is getting the sheriff involved.
> 
> AUNT HARRIET  
>  I know how sensitive you are to "making a scene," but really, it came from a place of genuine worry. You know how I am about these things.
> 
> DAVID  
>  I do. I do know how you are. And everything is like some operatic performance with you. Why can't you just be...
> 
> AUNT HARRIET  
>  Don't you dare say, "normal," David Truelove. Out of everyone in our family, you should know better.
> 
> DAVID  
>  Why? Because I'm not "normal?" Because I'm neurodivergent? I live every day constantly aware of that fact, thanks in part to the rest of our so-called "family." I don't need yet another reminder.

David leans up against the living room wall and crumples to the floor. He holds himself in a ball, rocking back and forth slightly.

Achilles perks up and comes over to sniff at David's head and lick his ear.

David waves Achilles off, but the dog continues.

Aunt Harriet rises and hovers within David's line of sight. She stops herself short from hugging or touching him.

> AUNT HARRIET  
>  Come, _mein Liebling_. Bitterness does not suit you. Give yourself the freedom to fail, the freedom to feel...
> 
> DAVID  
>  ...the freedom to have fun, the freedom to be free...
> 
> AUNT HARRIET  
>  And, the most important one, the freedom to fearlessly love.
> 
> DAVID  
>  Fat chance at this rate.
> 
> AUNT HARRIET  
>  Not with that attitude.

David welcomes Achilles' attention finally and lets him openly nuzzle and lick his face.

A knock sounds at the front door.

All three look to see Lily, the cashier from The Wright Place, standing on the porch.

Aunt Harriet makes to answer the door, but David gets up instead and waves her off. Achilles follows David as usual.

* * *

EXT. HARRIET'S HOUSE - DRIVEWAY AND PORCH

Lily stands holding a bouquet of flowers and a package wrapped in brown paper like a present.

David shows no signs of his previous emotional outburst.

> LILY  
>  Hi there, Mr. Truelove. Mr Wright asked me to bring these by. The flowers are for Ms. Harriet--  
>  (she holds out the bouquet)  
>  \--this is for Achilles--  
>  (she unwraps the package and hands over a meaty bone to the dog)  
>  \--and these are for you while your car is in the shop!

Lily takes a set of car keys out of her back pocket. They have a rental tag.

David looks and sees a shiny sedan parked in the driveway.

> DAVID  
>  Sorry, my car is in the shop?
> 
> LILY  
>  Yep. Mr. Wright felt really bad about you getting stuck in that flash flood last night. Especially since you have a classic car. But it should all get taken care of by the end of the week.

Another car pulls up into the driveway. Lily waves at it.

> LILY (CONT'D)  
>  That's my ride. Oh, and this is the last thing from Mr. Wright.

Lily removes a sealed letter hidden in the bouquet. She lingers, waiting to see what it says.

David opens it and reads:

"A token of my appreciation and affection. --T"

Lily reads it aloud softly from where she stands then squeals excitedly. She scurries down the porch steps and to the idling car. She opens the passenger door but stops short from getting in.

> LILY  
>  (shouting)  
>  Bye, Mr. Truelove. I hope you find your true love!

She gets in the car and animatedly recants their interaction to the driver as they exit the driveway.

> DAVID  
>  (to Achilles)  
>  Like I haven't heard that one before.

* * *

INT. HARRIET'S HOUSE - ENTRYWAY/LIVING ROOM

David and Achilles enter with their gifts. Achilles curls up with his new bone in the center of the room.

Aunt Harriet is still seated on her fainting couch, but gets up to search for a vase in her numerous curio cabinets.

> AUNT HARRIET  
>  (taking the flowers)  
>  What a thoughtful girl, that Lily Roberts. But what prompted this?
> 
> DAVID  
>  I think you know who. And it's not the thoughtful girl from the butchery.
> 
> AUNT HARRIET  
>  No need to be coy, I was only asking a simple question about a certain grand gesture.
> 
> DAVID  
>  This is hardly a "grand gesture."
> 
> AUNT HARRIET  
>  Let me live vicariously through your love life. I have so little else.
> 
> DAVID  
>  Wasn't that the whole reason why you set me up with...him...in the first place?
> 
> AUNT HARRIET  
>  Perish the thought! How could you think so ill of me?
> 
> DAVID  
>  Isn't it true though?
> 
> AUNT HARRIET  
>  Yes, but I hate that you feel the need to misrepresent me like this.
> 
> DAVID  
>  On that note, I'm going to the library.

David puts on a pair of shoes and dresses Achilles in his service vest.

> AUNT HARRIET (O.S.)  
>  What, why?
> 
> DAVID  
>  Even though I'm taking a month off, I still need to get work done. And I'd rather have some peace and quiet while I do it, thank you very much.
> 
> AUNT HARRIET (O.S.)  
>  Go on--leave me. I'll be here, withering away in my solitude.

David gathers a cross-body bag and opens the front door.

He sees a convertible Thunderbird roll into the driveway.

> DAVID  
>  I believe Edward from the Rotary Club is here.
> 
> AUNT HARRIET (O.S.)  
>  He's late, as usual. Our afternoon tea should've started an hour ago.

* * *

INT. PLEASANT GROVE LIBRARY - DAY

The library is classically styled with 40s-era woodwork and lighting. A few LIBRARY PATRONS mill around.

David and Achilles situate themselves at a desk. David sets up his laptop and searches for something in his bag.

He can't find it, so he dumps the contents of his bag out on the desk. He pours over every item and becomes more frantic.

The ambient noises of the library amplify and David's heartbeat pounds. His breathing turns to hyperventilating.

Achilles licks at David's hand, yet he doesn't react.

> LIBRARIAN (O.S.)  
>  Sir, are you alright?

LIBRARIAN, 60s and grandmotherly, places a hand on David's shoulder. He immediately pushes her away and collides with the desk, upending his items.

David exits with Achilles in a flurry.

* * *

EXT. PLEASANT VALLEY LIBRARY - LATER

David sits on the library steps, Achilles' head in his lap. He stares vacantly into the middle distance.

> CASEY (O.S)  
>  Fancy seeing you here.  
>  (David doesn't react)  
>  Mr. Truelove?  
>  (still no response)  
>  Here are your things. I figured you still wanted them. I only took the luxury items. You can write them off as a charitable contribution.

Casey sets David's bag down at his side. He finally notices.

> DAVID  
>  Casey. What are you doing here?
> 
> CASEY  
>  Mick dropped me off. We're spending the day here looking for our unsub.

David nods, still stoic.

> CASEY (CONT'D)  
>  You seem a little out of sorts. I won't ask if you're alright, 'cause you clearly aren't.

David shrugs.

> CASEY (CONT'D)  
>  If you want to talk about it or whatever, that'd be chill.
> 
> DAVID  
>  I...lost something important.
> 
> CASEY  
>  What, something more important than this sweet ball of fluff?

Casey sits and scratches at Achilles' head.

> DAVID  
>  I was...I hadn't noticed it was gone. I get overloaded without it. And I'm not a "productive member of society" when that happens.
> 
> CASEY  
>  What even is a productive member of society?
> 
> DAVID  
>  Someone with a job, someone with a purpose, someone with a partner. Someone normal. Someone I have to be.
> 
> CASEY  
>  That's a load of horseshit. Did you ever consider that maybe this idea of normalcy is completely unattainable?
> 
> DAVID  
>  "Perfection is not attainable, but if we chase perfection--"
> 
> CASEY  
>  "--we can catch excellence." Yeah, my dad quotes football coaches too. Personally, I think things like that belong on bumper stickers.  
>  But what makes you think that you haven't already caught excellence? You have a successful writing career, two film adaptations of your books, and you like to visit schools to talk about students with special needs. Sounds pretty perfect to me.
> 
> DAVID  
>  I'm far from perfect. I can't even make eye contact in public without a pen and paper in hand. Overloaded, remember?
> 
> CASEY  
>  So what? Some people need smoking breaks to get through the day, some need alcohol. A pen and paper is hardly controversial or unhealthy.
> 
> DAVID  
>  You know, Achilles only has three legs. He was born with his disability on the outside. Mine is deep on the inside. Any semblance of my disability was conditioned out of me at an early age. So, I may look normal, but I don't act like it and I definitely don't feel it.

Mick pulls up into the library parking lot in a decommissioned cop car.

> CASEY  
>  I'll leave you with some food for thought. Maybe you are confusing normalcy with the things that all people share, or, at least the people closest in your life. Rather than thinking about what separates you from the rest of the world, think about what binds you to the people you love.

David watches Casey hurry down the steps and into Mick's car. Mick waves through the windshield and, after a beat, David waves back.

* * *

INT/EXT. HARRIET'S HOUSE/PLEASANT GROVE - DAY

MONTAGE: GRAND GESTURES

David enters with a new bouquet of flowers. He places them in a vase on the entryway table.

David enters over five different days with new bouquets. They are all displayed in the living room and are beginning to overflow.

David walks down Main St. with Achilles and passes the town's movie theater. The posters out front show that they are playing the two film adaptations of David's books.

[Titled: _The Turn of the Shrew_ and _Heaven is Hart-less_.]

David passes an ice cream and coffee shop. They both have signs declaring book-themed specials.

[Ice cream: _"Shrew-berry Sundaes! Heaven is Rocky Road-less!"_ / Coffee: _"Turn of the Cold Brew"_ and _"Heavenly Hart Lattes"_ ]

David scoffs each time at these grand gestures.

END OF MONTAGE:

David looks at the latest bouquet. There is an unopened gift resting beside it.

David unwraps it to find a new leather notebook and fountain pen. He inspects the notebook and lifts open the cover.

A penny rolls out onto the ground and an inscription reads:

"For your thoughts--T"

David is moved and places the notebook gingerly in his bag.

Aunt Harriet enters from the living room.

> AUNT HARRIET  
>  David, dear. Annabelle wanted to know if you would do a little meet and greet with your children's series at the library. We talked about it before you came into town and we think that the it would be a perfect opportunity to--
> 
> DAVID  
>  Sure. When did she want me in?
> 
> AUNT HARRIET  
>  Today. Actually right now. I meant to tell you earlier, you know how I am--
> 
> DAVID  
>  It's fine. Achilles and I will be on our way.

* * *

INT. PLEASANT GROVE LIBRARY - DAY - LATER

David sits with Achilles in a read-aloud chair in the children's section.

A handful of KIDS are seated on the floor. A couple of PARENTS and the Librarian monitor in their own chairs.

> KID 1  
>  ...and then the boy took the scissors and then he cut the door out and then he saw a room full of spiders and then the boy brought out his ring of fire and then he saved everyone.
> 
> DAVID  
>  Wow, that's some impressive storytelling. I especially liked the moment when the boy decided that he didn't want to do what the king told him to do. Understanding agency in your character's actions will only make their arc even more powerful.
> 
> KID 2  
>  Did you write stories when you were our age?
> 
> DAVID  
>  I did. It was easier for me to write down what I was thinking than to talk to other people. I was what they call "nonverbal" or "mute" as a kid. But having Achilles as a service dog helps me out. He licks my hand to calm me down when I start to feel like a little kid again.

Casey enters at the back of the area and raises their hand.

> CASEY  
>  How would you feel if someone brought one of your books to life?
> 
> DAVID  
>  It would depend on the book.
> 
> CASEY  
>  How about your first one: The Darkest Deed.

A beat.

> DAVID  
>  And the chapter?
> 
> CASEY  
>  Chapter One: The deed itself.

David's eyes widen in recognition.

* * *

INT/EXT. MICK'S CAR/PLEASANT GROVE - DAY (TRAVELING)

David sits in the back of Mick's car with Achilles. Casey is in the passenger seat. Mick drives like he is a pilot.

> MICK  
>  So I was listening on the police scanner--
> 
> CASEY  
>  Because god forbid we listen to top 40 or classic rock.
> 
> MICK  
>  \--and a code I've been waiting for the past week to crop up in this area came on--
> 
> CASEY  
>  187, a homicide.
> 
> MICK  
>  But here's the thing, the guy on the radio didn't even remember the code, so he went into detail about the scene instead. Said there was--
> 
> CASEY  
>  A body displayed in a tree. A pound of flesh removed. Just like in your first book with the Cottonwood Killer.
> 
> MICK  
>  The officer said that a coroner was needed and that it was a newsworthy event. So you know what this means: the Pleasant Grove PD is gonna have to fess up to the fact that they have a real-life crime scene on their hands. Validation!
> 
> CASEY  
>  Hold on to your party-pants, old-timer. This doesn't really mean anything yet until we see the scene.  
>  My guess is that this whole thing will get bungled or swept under the rug immediately. But we wanted you to come along in case this actually is a rabid fan reenacting one of your books... who also happens to have homicidal tendencies.
> 
> MICK  
>  You can't think of anyone doing something like that in this town, can you, Mr. Truelove?

David shakes his head and clutches at Achilles' collar.

* * *

EXT. PLEASANT GROVE FOREST - DAY - LATER

Mick parks along a line of cop cars and an ambulance. PLEASANT GROVE CITIZENS crowd around the cordoned-off area.

David and Achilles exit the car and fall in to the rest of the congregation.

Mick and Casey advance on a TIMID COP running crowd control. David cranes his neck to see over the mob while Mick argues loudly in the background:

> MICK  
>  I'm a private investigator, officer. I've been hired to examine the missing persons and closed cold cases in this county.
> 
> TIMID COP  
>  Sheriff Livingston said that no one other than police officials could cross this line.
> 
> MICK  
>  Yes, I'm personally familiar with Sheriff Livingston. If you could radio her, she can give us clearance.

Casey searches for David and sidles up to him.

> CASEY  
>  Hey, Mick's gonna get us in. We'll have a personal and private view of the scene. Stick with me, my man, and I'll take you places.

* * *

EXT. FOREST CRIME SCENE

A handful of POLICE OFFICIALS are impassively standing by throughout the scene.

The corpse is positioned as though it is emerging from the core of a large tree. No evidence of injury shows on the body, except for a bloody carving of flesh from the corpse's side, which rests on the ground in front of the tableau.

Sheriff Livingston steps away from a CORONER to greet David, Casey, and Mick.

> SHERIFF LIVINGSTON  
>  Mr. McMillan, Mr. Truelove, Andrews. I wish we could meet under better circumstances.
> 
> MICK  
>  Cut the pleasantries. Give me the facts, Sheriff.
> 
> SHERIFF LIVINGSTON  
>  All we know is that a hiker came across this body this morning. T.O.D. is roughly 36 hours ago. A pound of flesh has been removed from the victim, but no other signs of a struggle have been determined. Of course, half of the body is still inside the tree, so we might find a cause of death once we remove it.
> 
> DAVID  
>  There'll be...something written on the back of the body.
> 
> CASEY  
>  Yes, and it'll say, "Who is Justice?"
> 
> SHERIFF LIVINGSTON  
>  I've read The Darkest Deed as well, Andrews. I don't wish to jump to any conclusions yet, even though some circumspect details were relayed over our radio correspondence.  
>  (she looks pointedly at Timid Cop)  
>  For now, we simply want to be as careful as possible gathering evidence. We aren't used to things like this considering--
> 
> MICK  
>  \--considering how quiet it is in Pleasant Grove. I don't appreciate lip service, ma'am.
> 
> SHERIFF LIVINGSTON  
>  Neither do I, sir. If you would, follow me.

Sheriff Livingston leads the group closer to the murder tableau.

Mick reacts negatively to what he sees upon closer inspection.

> MICK  
>  What the hell are you playing at here in this town, Sheriff?
> 
> SHERIFF LIVINGSTON  
>  I beg your pardon?
> 
> MICK  
>  This victim--you have identified it, yes?
> 
> SHERIFF LIVINGSTON  
>  Of course, the wife has already been notified. She will come to the coroner's office to correctly identify her husband later today.
> 
> MICK  
>  So I suppose that it is just a sheer coincidence that the man who hired my services to investigate your town's odd disappearances also happens to be the victim of a premeditated homicide?
> 
> SHERIFF LIVINGSTON  
>  I'm not following your line of logic, Mr. McMillan. I was not aware--
> 
> MICK  
>  \--that Mr. Lancaster, a fine and upstanding citizen in this community, is currently murdered and displayed just like a literal scene from a book?

David examines the corpse carefully. He expresses increasing curiosity over the dead face of Mr. Lancaster. Casey watches David just as carefully.

> SHERIFF LIVINGSTON  
>  If you mean to tell me that this is an intentional cover-up by my police department, why don't you say so?
> 
> MICK  
>  I'm not the one saying, ma'am--you are.
> 
> SHERIFF LIVINGSTON  
>  The fact remains, we still are not convinced that this was entirely premeditated.
> 
> MICK  
>  A man is currently stuck inside a tree. This entire situation is premeditated. Mr. Lancaster is the victim of an intentional and targeted murder. I don't need to have any experience with law enforcement to see that.
> 
> SHERIFF LIVINGSTON  
>  Mr. Truelove--David--you are the creative mind with us right now. What do you think?

David doesn't respond immediately and Casey prods him.

> DAVID  
>  I imagine that this is a message for someone. A "grand gesture" of sorts.
> 
> SHERIFF LIVINGSTON  
>  Who do you think is the recipient?
> 
> DAVID  
>  I don't need to speculate, Sheriff. It's me.
> 
> SHERIFF LIVINGSTON  
>  Let's not jump to conclusions here--
> 
> CASEY  
>  It's true. It's for him. And Thomas Wright is the unsub.

David freezes. Mick shushes Casey unsuccessfully.

> SHERIFF LIVINGSTON  
>  That is a serious accusation, Andrews. Do you have any evidence to support your claims?
> 
> CASEY  
>  I have Mr. Truelove's own words.

Casey takes out David's missing notebook from their back pocket. David looks on in confusion and betrayal.

> CASEY (CONT'D)  
>  Mr. Truelove writes down all his observations of people.  
>  (flips to a page)  
>  See? "Sheriff--hiding something important." It was dated when he must've arrived in town.  
>  (flips to another page)  
>  Then he says two days later, "Sheriff --expert liar, covering her tracks." You can't tell me that isn't true.
> 
> SHERIFF LIVINGSTON  
>  Look, I am not what you continually tell me that I am. I'm just doing my job. Rather well, I might add. I know that it doesn't fit within the narrative you've concocted about me, so I really must get back to--
> 
> CASEY  
>  But here, Mr. Truelove writes something out of the ordinary. He says, "Mr. Wright--serial killer." If all the other observations are accurate, then this must be too.

Sheriff Livingston pauses, considering, then holds out her hand for the notebook, which Casey happily hands over.

Sheriff Livingston flips through it, skimming its entries.

> SHERIFF LIVINGSTON  
>  I think all of you need to come down to the station. We need to talk.

* * *

INT. PLEASANT GROVE PD - CONFERENCE ROOM - LATER

David, Mick, Casey, and Sheriff Livingston all sit around a conference table. They are sequestered away from the rest of the police department.

> SHERIFF LIVINGSTON  
>  Once again, all I'm hearing right now is conjecture. If you love facts so much, Mr. McMillan, then I am not seeing them.
> 
> MICK  
>  I was waiting to deliver this information about Mr. Wright when the timing was more appropriate.
> 
> SHERIFF LIVINGSTON  
>  You mean more convenient for your own needs as a self-seeking PI, correct?
> 
> MICK  
>  I don't appreciate being condescended to. So if we can take our personal affronts off the table from here on out, I'll be a compliant little corroborator.
> 
> SHERIFF LIVINGSTON  
>  David, you have been oddly quiet. What do you have to say about these testimonies?
> 
> DAVID  
>  I'm not sure what else there is left for me to say. It is just like Mick and Casey have already summarized.
> 
> SHERIFF LIVINGSTON  
>  Even still, this is all pure speculation. I am not undermining your powers of observation or intuition, David, but I need something more substantial than a sentence of hearsay scribbled in a notebook.
> 
> CASEY  
>  Why don't we let David gather it, then?
> 
> SHERIFF LIVINGSTON  
>  What do you mean, Andrews?
> 
> CASEY  
>  I mean that David already has an "in" right? He can ask Mr. Wright leading questions and get him to confess.  
>  If Mr. Wright was brought in and questioned, he definitely wouldn't admit to anything, nor would he have any reason to trust Mick or myself to fess up. But David is just another private citizen, so Mr. Wright would have no reason to suspect that David was working for the police.
> 
> SHERIFF LIVINGSTON  
>  I see your point, Andrews. It has merit. In any other situation, I'd be inclined to agree with you. Yet we are dealing with a potentially violently psychopath. Despite what you may think of me as a sheriff, I'm not going to risk anyone's life unnecessarily, even if it means we catch our perp.
> 
> DAVID  
>  I'll do it.
> 
> SHERIFF LIVINGSTON  
>  Sorry, do what?
> 
> DAVID  
>  I'll wear a wire or run a recording device. I'll go to Mr. Wright and get him to confess.
> 
> SHERIFF LIVINGSTON  
>  You do realize that I wouldn't be able to give you a police detail--you'd be all on your own if you were do this.
> 
> DAVID  
>  It's fine. You need a suspect and I know a suspect. This all can be open-and-shut. That's what you like with these cold cases, right Hannah?
> 
> SHERIFF LIVINGSTON  
>  Not at the risk of your life, David.
> 
> CASEY  
>  Besides, I think that David was correct before.
> 
> SHERIFF LIVINGSTON  
>  Correct about what?
> 
> CASEY  
>  This whole crime scene being a "grand gesture." I think Mr. Wright is trying to get David's attention. Why else would it be inspired from one of his books? Mr. Wright probably thinks this is a love letter. So...David should answer back.

* * *

INT. PLEASANT GROVE PD - BATHROOM

David closes a single-stall bathroom door. He faces himself in the mirror.

His hands shake as he reaches for paper towels, wets them, then dabs at his face.

MATCH CUT TO:

INT. HARRIET'S HOUSE - BATHROOM - LATER

David pulls the towels away and looks back in the mirror. He is now wearing the same outfit from his blind date.

His hands still shake as he exits Harriet's guest bathroom.


	10. ACT II, SCENE V

**Summary for the Chapter:**

> In which David walks a fine line with a certain someone...

INT. HARRIET'S HOUSE - ENTRYWAY/LIVING ROOM

David enters the foyer from the stairs. Achilles is waiting at the front door, ready with his service vest.

> DAVID  
>  Aunt Harriet? I'm going out.

There is no response.

David pats himself down. He locates a voice recorder and turns it on before sliding it into a security pocket inside his dinner coat.

His cell phone rings.

As he speaks on the phone, David searches for his new notebook.

> DAVID  
>  (on phone)  
>  Hey, Casey... Batteries are charged and ready to go... No, I know... I got one hour and if you don't get a call directly from me in that time, you're coming in... I'm fine, really... I'll get it, don't you worry... I guess I'll see you either way tonight.

David hangs up. He has found his notebook and stores it in his opposite coat pocket.

> DAVID  
>  (to Achilles)  
>  We're doing the fandango, bud. Whether we want to or not.

* * *

EXT. PLEASANT GROVE - FOREST - NIGHT

David drives his fixed J40 Land Cruiser.

He passes by Mick’s decommissioned cop car parked on the side of the road.

Casey and Mick acknowledge him from inside their car.

* * *

EXT. HOUSE IN THE FOREST - DRIVEWAY

David pulls up to Thomas’ house.

Thomas is already outside and goes to open David’s driver side door.

They stand within an inch of each other when David gets out.

> DAVID  
>  ...Achilles...
> 
> THOMAS  
>  And good evening to you too.

Thomas circles around and physically assists Achilles on the passenger side of the cab.

> THOMAS (CONT'D)  
>  Shall we?

* * *

INT. THOMAS' HOUSE - ENTRYWAY

Thomas moves to help David out of his dinner coat.

> DAVID  
>  You’re not getting me out of my clothes that quickly.
> 
> THOMAS  
>  One can hope.

* * *

INT. THOMAS' HOUSE - KITCHEN

The kitchen is luxurious with classic gingerbread woodwork and sleek modern appliances.

Rib eye steak sizzles on the cooktop. Salad ingredients and grilled oysters are lined up on an island counter.

> THOMAS  
>  I thought we would start with a little preparation.
> 
> DAVID  
>  Making me work for my meal?
> 
> THOMAS  
>  Unless you had another method of payment in mind?
> 
> DAVID  
>  I do. But I prefer some elbow grease beforehand.
> 
> THOMAS  
>  How comfortable are you with knives?
> 
> DAVID  
>  Comfortable enough.

Thomas takes up a chef's knife. He points the blade towards David before flipping it handle first.

> THOMAS  
>  I'll have you work on the vegetables. Every good meal needs a garnish.
> 
> DAVID  
>  Any particular size?
> 
> THOMAS  
>  Thinly sliced. And presentation is everything.

David begins chopping celery and radishes. Thomas sees to the steak and cuts off a portion.

> THOMAS  
>  (offering Achilles the meat)  
>  For the most important one in the room.

Thomas transfers the steak to a cutting board. He seasons it and places it in the oven.

Thomas brings the extra seasonings to David's workstation.

> THOMAS  
>  Here, we'll trade off. The wine is ready to pour, if you wouldn't mind?

A beat.

David passes the knife back to Thomas and finds a decanter of wine. He measures out one generous portion and one conservative sampling for himself.

> DAVID  
>  Oysters? I assume you're aware...
> 
> THOMAS  
>  That they're considered an aphrodisiac? Yes.

David tries an oyster.

> DAVID  
>  I don't feel like I'm suddenly burdened by my libido.
> 
> THOMAS  
>  All good things to those who wait.
> 
> DAVID  
>  About your gifts this week...
> 
> THOMAS  
>  Yes?
> 
> DAVID  
>  I wanted to say thank you. Especially for the notebook and pen.
> 
> THOMAS  
>  I find that the simplest gestures are the most grand. Of course, I also have a flair for sensationalism.
> 
> DAVID  
>  Hence, the movie theater and shops downtown.
> 
> THOMAS  
>  Those were only passing suggestions that I gave to the owners. We all run in a tight circle on Main Street, so it made sense that we would all pay homage to our own local celebrity.
> 
> DAVID  
>  It's appreciated, but for future reference, the smaller gestures better suit my needs.
> 
> THOMAS  
>  Understandably. I prefer the same as well.
> 
> DAVID  
>  Noted.

The oven timer goes off. Thomas inspects the steak and brings it to the island counter.

INTERCUT - MONTAGE DREAMSCAPE #3 AND PRESENT

Thomas takes out a cleaver and begins slicing. It is rare and leaves reddish juice spills out on the plate.

David flashes back to his bloody dream with Thomas carving out his beating heart.

The sounds of Thomas cutting in both situations intermingle together.

David's breathing deepens and his pupils dilate.

END OF INTERCUT:

> DAVID (CONT'D)  
>  Perhaps those oysters are kicking in after all.
> 
> THOMAS  
>  Is that so?
> 
> DAVID  
>  But I'd hate to see this spread go to waste.
> 
> THOMAS  
>  Likewise. Besides, anticipation makes the heart grow fonder.
> 
> DAVID  
>  I thought it was "absence"?
> 
> THOMAS  
>  Not with me. And, from what I can tell, not with you either.
> 
> DAVID  
>  Am I really so transparent?
> 
> THOMAS  
>  Not at all. But I'm learning you just like you're learning me.
> 
> DAVID  
>  And? What have you discovered?
> 
> THOMAS  
>  Wouldn't you like to know.

* * *

INT. THOMAS' HOUSE - LIBRARY - LATER

The fireplace provides soft lighting. Achilles is curled up in front of the fire like before.

Thomas sits in the armchair while David stands, appraising the book selection.

> DAVID  
>  Locke, Kant, Hume, Lao Tzu... for a small town butcher, you have an awful lot of shelf space dedicated to moral philosophy.
> 
> THOMAS  
>  Surprised?
> 
> DAVID  
>  Not really. I've come to expect the unexpected with you.
> 
> THOMAS  
>  Aren't you curious about my own personal philosophy?
> 
> DAVID  
>  Nope.

David turns around with a glass of scotch in hand and sways.

> DAVID  
>  I mean... sure, yes.

Thomas stands and advances slowly towards David as he speaks.

> THOMAS  
>  Like Locke, I believe that we are shaped by our experiences; like Kant, I believe that ends must justify means; like Hume, I think that our collective morals are not the product of rational thought; and like Lao Tzu, I aim to live in accordance with my own nature.
> 
> DAVID  
>  I just want to disappear and live as a hermit like Lao Tzu.
> 
> THOMAS  
>  That can be arranged, if you so wish.
> 
> Thomas now stands within an inch of David, trapping him against the bookshelf.
> 
> THOMAS  
>  Tell me, what is it that you want from me, David?
> 
> DAVID  
>  What do you mean? I want you as you are.
> 
> THOMAS  
>  Is that true?
> 
> DAVID  
>  What even is true anymore...
> 
> THOMAS  
>  Here is a truth: this was on in your coat pocket.

Thomas reveals David's voice recorder from his own pocket. David sobers, dropping his drunken act.

> DAVID  
>  You left it running. Why?
> 
> THOMAS  
>  The question I should be asking is why you had this on you to begin with. However, I feel that that question is reductive. You are working with the police.
> 
> DAVID  
>  That wasn't a question.
> 
> THOMAS  
>  It's a statement of fact.
> 
> DAVID  
>  Why did you leave it running?
> 
> THOMAS  
>  To borrow your own words, I'm simply curious about what you will do with this information.
> 
> DAVID  
>  You mean that I'll take what we've said tonight to the police?
> 
> THOMAS  
>  That is entirely up to you.
> 
> DAVID  
>  You know, studying ethics doesn't necessarily make you an ethical or morally righteous person.
> 
> THOMAS  
>  I am aware of that fact. I don't pretend to be anything that I'm not.
> 
> DAVID  
>  Why did you kill Mr. Lancaster?
> 
> THOMAS  
>  You asked "why," not "did."
> 
> DAVID  
>  Answer the question.

Thomas exchanges David's glass of scotch with the voice recorder. He takes a sip from it while David holds the recorder up close between them.

> THOMAS  
>  The "why" isn't important in a court of law. Not in this case; not with the premeditation evidenced with the display of Mr. Lancaster's corpse.
> 
> DAVID  
>  I want to know the why.

Thomas backs away to sit on the couch. David follows and stands over him.

> THOMAS  
>  He was arrogant in his ignorance. He had nothing more to offer the community.
> 
> DAVID  
>  So it was a mercy killing?
> 
> THOMAS  
>  A mercy for us, yes.
> 
> DAVID  
>  Why did you display him the way you did?
> 
> THOMAS  
>  I'm prone to bouts of whimsy. And your work has shaped my experience; helped me get in touch with my true nature.
> 
> DAVID  
>  You mean to say that you weren't always a killer?
> 
> THOMAS  
>  We are what we are. Yet you provided me with an opportunity to strive for something more. Something beyond morality, something beyond what I always thought I was. Something that I know you feel too.
> 
> DAVID  
>  I'm nothing like you.
> 
> THOMAS  
>  You're alone. As am I. I believed that I would always be this way due to what I am. But you and I are unmoored in a sea of grey, and I'd like to find a port in the storm with you. If you're willing.

A beat.

David switches off the voice recorder and sets it on an end table next to the couch.

> DAVID  
>  Here is my port in the storm: I have people coming to arrest you within the next few minutes unless I call them off.
> 
> THOMAS  
>  Is that so?
> 
> DAVID  
>  I'm curious to see what you do with this information.

A beat.

Thomas takes the recorder and turns it back on.

> THOMAS  
>  I see... It appears that I have misconstrued your feelings for me... you could've saved me the embarrassment by telling me sooner.
> 
> DAVID  
>  I did.
> 
> THOMAS  
>  Indeed.

The doorbell rings.

> THOMAS  
>  Who could that be at this hour?

* * *

INT. THOMAS' HOUSE - ENTRYWAY

Thomas answers the door while David and Achilles stand back.

Sheriff Livingston, Mick, Casey, and Timid Cop are outside.

> SHERIFF LIVINGSTON  
>  Thomas Wright?
> 
> THOMAS  
>  Yes.
> 
> SHERIFF LIVINGSTON  
>  I'm placing you under arrest for the murder of Bruce Lancaster.
> 
> THOMAS  
>  Is that so?

Thomas turns to give David an accusatory look, then raises his hands behind his head to be handcuffed.

Mick and Casey enter the house and sidle up to David.

INTERCUT - MIRANDA RIGHTS AND MICK/DAVID/CASEY

> TIMID COP  
>  You have the right to remain silent. Anything you say can and will be used against you in a court of law...
> 
> MICK  
>  Did you get the stuff?
> 
> DAVID  
>  (passing over the recorder)  
>  All here.
> 
> TIMID COP  
>  ...You have the right to an attorney. If you cannot afford an attorney, one will be provided for you...
> 
> DAVID  
>  I don't think that this will count as a taped confession though.
> 
> MICK  
>  Don't you worry about that. But we couldn't've done this without you.
> 
> CASEY  
>  Say, you wanna observe the rest of the proceedings? Livingston's letting me watch for educational purposes. I'm sure she'll do the same for you.
> 
> TIMID COP  
>  ...Do you understand the rights I have just said to you? With these rights in mind, do you wish to speak to me?
> 
> THOMAS & DAVID  
>  Of course.


	11. ACT II, SCENE VI

**Summary for the Chapter:**

> In which David has questions and he gets answers from an unexpected place...

INT. PLEASANT GROVE PD - INTERROGATION ROOM - LATER

David stands in an observation room looking into the interrogation room. Casey and Achilles are at his side.

Mick and Sheriff Livingston are seated in the interrogation room. Thomas is handcuffed to the table.

Sheriff Livingston starts a reel-to-reel tape recorder.

INTERCUT - INTERROGATION AND DAVID/CASEY

> SHERIFF LIVINGSTON  
>  The time is 0235 on July 6th. This is the taped confession of Thomas Anthony Wright for the murder of Bruce Lancaster. Arresting officer, Hannah Livingston. Sitting in on the proceedings is private investigator, Michael McMillan.
> 
> CASEY  
>  This is so exciting. Everyone else in my criminal law classes are wasting their time hitting the books. But I'm here, actually watching the books unfold.
> 
> SHERIFF LIVINGSTON  
>  You realize that you are waiving your right to an attorney?
> 
> THOMAS  
>  I have nothing to hide.
> 
> MICK  
>  That has yet to be determined.
> 
> SHERIFF LIVINGSTON  
>  Where were you on the evening of July 2nd?
> 
> THOMAS  
>  At our weekly Main Street shopkeepers meeting. We were discussing possible themes after the holiday was over.
> 
> CASEY  
>  He's really calm isn't he? Wouldn't a normal person be clamoring to get out of the room? That's psychopaths for ya.
> 
> SHERIFF LIVINGSTON  
>  Bruce Lancaster was also at that meeting. It seems that you all settled on a theme centered around David Truelove's books, is that right?
> 
> THOMAS  
>  It was a collective decision, but it made sense as David Truelove is staying here in town for the time being.
> 
> MICK  
>  You like David Truelove, don't you?
> 
> THOMAS  
>  "Like" sounds juvenile. Come, Mick, we're not in kindergarten here. Still jealous over the fact you were picked last for dodgeball teams?
> 
> CASEY  
>  Whoa, is he implying that he knows my dad?
> 
> MICK  
>  I've never met you before until today, Mr. Wright.
> 
> THOMAS  
>  Ah, but I've seen you. From afar. Like you saw me.
> 
> MICK  
>  On that topic--  
>  (taking out photos from folder)  
>  Care to explain why I was able to find you at at least three different crime scenes across Pleasant county over the past six months?
> 
> THOMAS  
>  Sheer morbid fascination.
> 
> CASEY  
>  Hey, I didn't get to ask earlier--how are you holding up?
> 
> DAVID  
>  I'm fine.
> 
> CASEY  
>  You know what they say about the word "fine," right?
> 
> DAVID  
>  It stands for freaked out, insecure, neurotic, and emotional.
> 
> CASEY  
>  So, which one are you?
> 
> SHERIFF LIVINGSTON  
>  After your meeting, where did you go next?
> 
> THOMAS  
>  Home.
> 
> SHERIFF LIVINGSTON  
>  Do you have anyone who was a witness to this?
> 
> THOMAS  
>  Yes. David Truelove himself. It was the night of the flash flood. He got caught in the storm and showed up on my doorstep. That would've be around 9:30 pm.

  
MONTAGE - DREAMSCAPE #4

David flashes back to being knocked out at Thomas' door.

Then he imagines a scenario in which Mr. Lancaster was tied up in the Kill Room while Thomas carried David, unconscious, into the library.

David flashes back to when he was snooping through the house and overheard sounds from the kitchen.

Then he imagines Thomas carving out a pound of flesh from Mr. Lancaster's body on top of the island counter.

END OF MONTAGE:

> DAVID  
>  I'm all of it.
> 
> CASEY  
>  That's an understatement, pal. Is there anything you need to get off your chest?
> 
> DAVID  
>  Yes...why did you take my notebook?
> 
> CASEY  
>  You left it behind at the Pleasant Valley PD. We were going to return it before we saw what you wrote.
> 
> DAVID  
>  Why didn't you bring this up the other day at the library.
> 
> CASEY  
>  Must've slipped my mind.
> 
> DAVID  
>  Don't lie to me. You're better than that.
> 
> CASEY  
>  And you're compromised.  
>  (a beat)  
>  You know why I suggested that you should be the one to get Thomas to confess? Because I knew that you would be more than willing--happy, even--to play up your feelings for him. But it's not playing for you. It's real.
> 
> DAVID  
>  Is that what you think of me? That I'm the Bride of Frankenstein? I'm Lady Macbeth? I'm the Bonnie to his Clyde?
> 
> CASEY  
>  I don't need to think that. You think that of yourself.
> 
> DAVID  
>  I'm not--I don't--

David looks at Thomas and immediately exits the observation room.

* * *

INT. PLEASANT GROVE PD - HALLWAY

David enters, unsteady, into a dimly lit, empty hallway.

There are benches lined up along the wood-paneled walls, but David ignores these.

He braces himself instead with his back to a wall and slides to the floor. Achilles lays down in front of him.

> DAVID  
>  I'm not...I'm not him...I can't...I won't...What am I? What am I doing?

A cough echoes down the hallway.

> DAVID  
>  I'm fine...this is fine...I'll be fine...this is fine...I'm not...

Another cough sounds. Achilles perks up and finds the source.

Near the end of the corridor, the room labeled "Records & Evidence" has light spilling out into the dark.

Dotty's head peeks out from it, coughing intentionally.

Achilles stands and licks at David's face, pulling him from his spiral.

David finally notices Dotty and stands with renewed purpose.

* * *

INT. PLEASANT GROVE - RECORDS & EVIDENCE

David stops in the doorway. Achilles follows suit.

Dotty is humming and filing in the stacks.

> DAVID  
>  Awfully late to be getting work done.
> 
> DOTTY  
>  I suppose, dearie. But I tend to keep odd hours. I prefer the quiet.
> 
> DAVID  
>  Is there a reason you wanted me down here?
> 
> DOTTY  
>  Hmm?
> 
> DAVID  
>  Just now, you made it clear that I should come in here.
> 
> DOTTY  
>  I don't remember saying anything like that.
> 
> DAVID  
>  No, but you...nevermind. I should head home.

David exits from the doorway and into the hall. Achilles stays in the doorway.

A beat.

David enters back into the room and sits at the desk in front of the filing stacks. Achilles enters the room as well and sniffs at the surrounding boxes and files.

> DAVID  
>  Actually, I think you could help me. I'm trying to locate any information you have on Thomas Wright?
> 
> DOTTY  
>  (removing her glasses)  
>  Wright, Thomas...current warrant out for arrest, homicide... Six months previous, December 15th, involved in a bar fight that spilled out on to Main Street...provided a statement that read--
> 
> DAVID  
>  Wait, hold on. You remember his file? And you can recite it verbatim?
> 
> DOTTY  
>  (putting glasses back on)  
>  Of course. Any self-respecting librarian should have their inventory memorized backwards and forwards.
> 
> DAVID  
>  Then how come you're not working at the public library?
> 
> DOTTY  
>  The Dewey Decimal System is not my cup of tea...Do you want some tea? I have a kettle around here somewhere...

Dotty disappears into the stacks, followed by sounds of her rummaging and humming.

> DAVID  
>  That's not necessary. I'd rather you tell me all you can about Thomas Wright.

David fishes out his new notebook from inside his coat pocket.

He pauses, appreciating the monogrammed leather and the inscription from Thomas on the cover page.

When he looks back up, Dotty is directly across from him on the other side of the desk.

> DOTTY  
>  (removing glasses)  
>  Wright, Thomas...current warrant out for arrest--
> 
> DAVID  
>  Can you skip to his statement at the bar fight? Please?
> 
> DOTTY  
>  ... he provided a statement that read:

  
MONTAGE: BAR FIGHT FLASHBACK AND DOTTY V.O.

INT. BAR - DAY

The bar is vintage-inspired, like something from the 1940s. A handful of BAR PATRONS are seated throughout the restaurant.

Thomas sits at a table with an ASSOCIATE. There are papers and food spread out in front of them.

> DOTTY (V.O.)  
>  "I had a meeting with a potential distributor at lunchtime when I noticed that a man was making advances on a young girl...

A YOUNG WOMAN, face hidden, walks up to a YOUNG BARTENDER and exchanges pleasantries. She passes over a key ring and makes to leave.

A YOUNG MAN/Victim is already with the Young Bartender, ordering a refill, and tries to talk with Young Woman.

Young Man/Victim reveals himself to be the same character that Thomas dispatches in the first Kill Room scene.

> DOTTY (V.O.)  
>  ”She looked to be a minor and had just come in to drop car keys off to the bartender, so I intervened on her behalf to see what the problem was...

Young Woman waves both men off, but Young Man/Victim reaches out to stop her. He comes closer and runs a hand through her hair before sliding it down her back.

Thomas is now at the bar and steps between Young Woman and Young Man/Victim.

Young Man/Victim is viscerally angry while Thomas is calm.

> DOTTY (V.O.)  
>  ”The man was incredibly intoxicated and would not listen to my redirection...

YOUNG FRIEND arrives and steps in between Thomas and Young Man/Victim.

Young Friend swings immediately at Thomas. Thomas dodges the blow smoothly.

> DOTTY (V.O.)  
>  "He had another friend come over, also drunk, who started throwing punches...

Thomas maneuvers Young Friend into a headlock similar to the one he uses on Young Man/Victim in the first Kill Room scene.

> DOTTY (V.O.)  
>  "I have a background in martial arts, so I was able to incapacitate the man's friend...

Bar Patrons react en masse to the altercation. Young Bartender cannot control them and Young Woman calls the cops.

> DOTTY (V.O.)  
>  "But that lead to a larger confrontation that encouraged the rest of the bar patrons to join in. And to think, it's not even 5 o'clock yet!"

END OF MONTAGE:

> DAVID  
>  (jotting down notes)  
>  That's his full statement? Do you know who the arresting officer was?

INTERCUT: WRIGHT PLACE GRAND OPENING/DOTTY V.O. AND DAVID

EXT. THE WRIGHT PLACE BUTCHERY - DAY

Thomas stands with City Officials. Mr. Lancaster and FORMER SHERIFF are a part of the group.

There are banners displaying the grand opening event and ribbon cutting outside of the building.

Young Man/Victim is the newspaper photographer for the event.

Thomas shakes hands down the line of City Officials.

He stops at Sheriff Livingston. She is wearing a deputy uniform and they lock eyes as they shake hands.

> DOTTY (V.O.)  
>  Hannah Livingston.
> 
> DAVID  
>  Of course it was. And the man?

Young Man/Victim snaps photos of the interaction. Mr. Lancaster comes up to him and throws an arm over his shoulders proudly.

> DOTTY (V.O.)  
>  Lancaster, Robert. Detained. Bail posted by his father, Bruce Lancaster.

Both Thomas and Sheriff Livingston turn to watch the Lancasters. They lock eyes again and separate.

> DAVID  
>  And the young woman involved?

Lily is a part of the crowd and she shakes hands with Thomas, handing over a paper resume.

Young Man/Victim snaps a photo of the interaction.

> DOTTY (V.O.)  
>  Roberts, Lily. Aged 18 years. Did not provide an additional statement and did not press charges.

END OF INTERCUT:

> DAVID  
>  Do you have anything else on Thomas Wright?
> 
> DOTTY  
>  (putting glasses back on)  
>  No, other than the bar fight, he has a clean record.
> 
> DAVID  
>  Aside from the arrest warrant currently out for homicide.
> 
> DOTTY  
>  I suppose that would tarnish a spotless record.
> 
> DAVID  
>  Clearly... What about Bruce Lancaster? Anything else besides posting bail for his son's bar fight?
> 
> DOTTY  
>  (removing glasses)  
>  Lancaster, Bruce. Oh, quite a record that one...

A beat.

> DAVID  
>  How so?
> 
> DOTTY  
>  Well, how do I put this... He has been involved in a handful of citizen's arrests. Those are all here in his file.  
>  (putting glasses back on)  
>  But what are not in his file are the signed petitions for him to step down as city council chairman. He did resign after the Pleasant Grove Gazette published an op ed on his misappropriation of the city budget to fund his own re-election campaign. Quite the scandal, let me tell you--  
>  DAVID  
>  Sorry to interrupt, but back to Thomas Wright... Do you think he’s a good person?
> 
> DOTTY  
>  What do you mean, dear?
> 
> DAVID  
>  All of the information you know about the police files here, do you have an opinion about any of the people in the reports?
> 
> DOTTY  
>  Yes, of course I have an opinion. What self-respecting librarian wouldn’t?

A beat.

> DAVID  
>  So, what is your opinion on Thomas Wright?
> 
> DOTTY  
>  I’m not at liberty to say.
> 
> DAVID  
>  Why? Does Sheriff Livingston have a gag order on you?
> 
> DOTTY  
>  Of course not. Hannah’s the best Sheriff we’ve ever had. Her predecessor, not so much. I’m not one to celebrate another’s death, but I danced on his grave when he passed.
> 
> DAVID  
>  Really? And you feel no shame in telling me this?
> 
> DOTTY  
>  Why should I? He was a hateful person. Arrogant in his own ignorance.
> 
> DAVID  
>  Wait, where did you learn that phrase? “Arrogant in ignorance.”
> 
> DOTTY  
>  I suppose I picked it up over the years, as you do with anything else.
> 
> DAVID  
>  But what does it mean?
> 
> DOTTY  
>  What do you think it means? It describes a person who casts prejudgments about others and is proud about doing so. There’s no reasoning with someone like that.
> 
> DAVID  
>  Do you think Bruce Lancaster deserved to die for that?
> 
> DOTTY  
>  I’m not at liberty to say. But I’ll admit that I worry less now that the former sheriff is gone.
> 
> DAVID  
>  But is Thomas Wright a good person?
> 
> DOTTY  
>  I can say this: he helped that young woman from the everyday struggle that all women face. He may have gone about it with violent means, but I feel that it was justified.
> 
> DAVID  
>  So Thomas Wright is a good person? He’s innocent?
> 
> DOTTY  
>  Of course he’s not innocent! He admitted to getting into a physical altercation with a day drinker.
> 
> DAVID  
>  And the current arrest warrant.
> 
> DOTTY  
>  That too. But is he good? I’ll let you answer that question for yourself.

Dotty returns to humming and filing.

A knock sounds on the door.

Timid Cop enters carrying a marked evidence bag.

> TIMID COP  
>  I have some stuff you, Ms. Dotty.
> 
> DOTTY  
>  Thank you, dear. I hope you’re heading home soon, you need to get some rest.
> 
> TIMID COP  
>  Yep. This is my last task for the day.  
>  (checks watch)  
>  Or, morning to be exact. Thank you, Ms. Dotty!

Timid Cop exits.

> DOTTY  
>  You too, dear. Take care!

David looks over at the evidence bag and notices his voice recorder inside.

> DAVID  
>  Ms. Dotty, could I inspect the contents of this bag before you log it?
> 
> DOTTY  
>  Hmm...? I’ll let you know when I get back from the ladies’ room. Nature calls.

Dotty coughs intentionally as she exits the room.

David slides the contents of the bag out on the desk. He picks up the recorder to play back its most recent recording.

The volume is jarringly loud and David fumbles to turn it down. He transcribes what he is listening to in his notebook.

> DAVID (V.O)  
>  (on recording)  
>  You mean to say that you weren't always a killer?
> 
> THOMAS (V.O)  
>  (on recording)  
>  We are what we are. Yet you provided me with an opportunity to strive for something more. Something beyond morality, something beyond what I always thought I was. Something that I know you feel too.
> 
> DAVID (V.O)  
>  I'm nothing like you.
> 
> THOMAS (V.O)  
>  You're alone. As am I. I believed that I would always be this way due to what I am. But you and I are unmoored in a sea of grey, and I'd like to find a port in the storm with you. If you're willing.

David rewinds it and plays it again.

> THOMAS (V.O)  
>  ...I'd like to find a port in the storm with you.

David stops the recorder and hangs his head.

> DAVID  
>  Fuck, that's good.

Dotty reenters and David hastily replaces the recorder in the evidence bag. She ignores the action with a cough.

David stands to leave.

A beat.

> DAVID  
>  I have trouble with eye contact too.
> 
> DOTTY  
>  Hmm, did you say something?
> 
> DAVID  
>  Your glasses. You take them off when you need to recite something. I find that when I need to chase down my thoughts, I fare better when I don’t have to look someone in the eye.
> 
> DOTTY  
>  Yes, I suppose I do do that.
> 
> DAVID  
>  Well, good night...er, morning.
> 
> DOTTY  
>  You too, dear. Give Harriet my love.

David nods.

* * *

INT/EXT. DAVID'S CAR/PLEASANT VALLEY - NIGHT (TRAVELING)

David is alone on the road, but abides by all of the stoplights and road signs.

MONTAGE: "ARROGANT IN IGNORANCE" FLASHBACK

David remembers Thomas in the library explaining:

> DAVID (V.O)  
>  I want to know the why.
> 
> THOMAS  
>  He was arrogant in his ignorance. He had nothing more to offer the community.

David remembers Aunt Harriet at the Town Hall commenting:

> DAVID (V.O)  
>  I believe I ran into her husband today. When I was picking up your hamburger at The Wright Place....
> 
> AUNT HARRIET  
>  Gah! That's why you were having a fit earlier. The Lancasters are both arrogant in their ignorance. Most upsetting. Any time spent in the near proximity of either of them would be enough to send a homicidal maniac running to the hills.

END OF MONTAGE:

David smacks the steering wheel, causing Achilles to yelp.

> DAVID  
>  Fuck. That's not good.


	12. ACT III, SCENE I

**Summary for the Chapter:**

> In which David takes a stand for a certain someone...

INT. HARRIET'S HOUSE - ENTRYWAY/LIVING ROOM

David enters without taking off his coat or shoes.

Harriet is seated with Beatrice Lancaster in the living room. They appear to be in a silent stand off.

Achilles goes to Harriet's side and she feeds him a biscuit without her usual fanfare.

> DAVID  
>  Ah, perfect. Just the two people I was hoping to see.
> 
> AUNT HARRIET  
>  David, my turtledove. Have you heard any news?
> 
> DAVID  
>  Curious that Beatrice is here, hmm? Didn't you once say that she was too "arrogant in her ignorance" for you to be around?

Beatrice scoffs and stands to pace like a caged lion.

> AUNT HARRIET  
>  I don't know what you're talking about. I was hoping that you would have some information regarding the recent updates in the case.
> 
> DAVID  
>  Don't you already know? I imagine that Sheriff Livingston sent a carrier pigeon or smoke signals your way about today's events hours ago.
> 
> BEATRICE LANCASTER  
>  What is that supposed to mean, young man?
> 
> DAVID  
>  That Harriet here and Sheriff Livingston are more than good friends; they're in some sort of conspiracy together.
> 
> AUNT HARRIET  
>  Perish the thought! I admire your imagination, David darling, but that is absolutely ludicrous.
> 
> DAVID  
>  Cut the bullshit. You're simply saving face since the wife of the man you all plotted to kill is in the room.
> 
> AUNT HARRIET  
>  Nonsense! Hersey!
> 
> BEATRICE LANCASTER  
>  I requested the hit on my husband.
> 
> DAVID  
>  Wait, what?
> 
> BEATRICE LANCASTER  
>  I paid Thomas Wright to dispatch my husband.
> 
> DAVID  
>  I'm sorry, I'm not following.
> 
> BEATRICE LANCASTER  
>  My husband was good-for-nothing. So now he is nothing.
> 
> DAVID  
>  Goddamn it, you're all insane.
> 
> AUNT HARRIET  
>  David, that is most uncouth of you. Apologize to our guest.
> 
> DAVID  
>  Why should I, you don't even like her!
> 
> AUNT HARRIET  
>  Pish. I may not agree with Beatrice Lancaster about a lot of things, but that doesn't mean I will allow her to be at the receiving end of your unjust rudeness.
> 
> BEATRICE LANCASTER  
>  If you must know, my husband was the one to hire the hit on our son after that skirmish last year.
> 
> DAVID  
>  The bar fight, you mean. Involving Thomas Wright and Lily Roberts.
> 
> BEATRICE LANCASTER  
>  Of course, I only found out about that little detail at the town hall last week. Harriet so generously offered that kernel of information to me.
> 
> AUNT HARRIET  
>  As I've said before, I thought that you were already aware of the situation!
> 
> BEATRICE LANCASTER  
>  In any case, my violent means justified my husband's own. I made his bed, and now he is lying in it.
> 
> DAVID  
>  Am I clear in understanding that neither of you are the least bit concerned about Thomas Wright being a serial killer?
> 
> AUNT HARRIET  
>  What makes you think he is a serial killer? Thomas Wright is a good man. Fair, just, righteous.
> 
> BEATRICE LANCASTER  
>  He takes care of the things that we ourselves cannot. And our town is better for it.
> 
> DAVID  
>  So if you're not mad about Mr. Lancaster's death, then what were you both mad about when I came in?
> 
> AUNT HARRIET  
>  The decor decisions for this year's Lollapalooza. What else?
> 
> BEATRICE LANCASTER  
>  I still think we should go with an "Enchantment Under the Sea" theme.
> 
> AUNT HARRIET  
>  Overdone, pastiche. Let's consider something else besides reliving our prom night.
> 
> BEATRICE LANCASTER  
>  I thought you enjoyed our little rendezvous in that photo op clam shell?
> 
> AUNT HARRIET  
>  That was ages ago, _mon chèrie_. I've moved on.

Harriet and Beatrice continue to bicker.

The sounds amplify, but David reins in a potential attack by exiting into the entryway and removing his shoes and coat.

> DAVID  
>  If you're going to be like this, then I'm heading off to bed.
> 
> AUNT HARRIET  
>  Sleep well, caro mio.
> 
> DAVID  
>  Unlikely.

* * *

INT. HARRIET'S HOUSE - GUEST BEDROOM

David is alone when he enters the room.

He turns on a nightstand lamp and sinks into the bed.

He takes out his notebook and opens it again to the cover page to read Thomas' inscription:

"For your thoughts--T"

David fishes the penny that came with the notebook out of his pants-pocket and admires it in the light.

> THOMAS (V.O)  
>  ...I'd like to find a port in the storm with you.
> 
> DAVID  
>  Fuck, he's good. What did I do?

* * *

INT. HARRIET'S HOUSE - GUEST BEDROOM - DAY

David lays in bed with Achilles.

Dust motes trail through the air from the morning light peeking out of the curtains.

David watches two dust motes collide, over and over, in different iterations.

Sounds of pots clanging echoes from downstairs. Achilles perks up and zooms out of the room.

* * *

INT. HARRIET'S HOUSE - KITCHEN

David enters the kitchen wearing rumpled pajamas.

Achilles sits next to Aunt Harriet, who is cooking a continental breakfast at the stove. She wears an audacious dressing gown with her hair in pin curls under a kerchief.

Beatrice sits at the kitchen table, also in a dressing gown, nursing a cup of coffee.

> DAVID  
>  About last night, I think I deserve an explanation.
> 
> BEATRICE LANCASTER  
>  An explanation about what, young man? I thought we had already beaten the subject to death.

Beatrice laughs at her own joke, but David remains impassive.

Aunt Harriet takes up a long piece of bacon and gives the entirety of it to Achilles.

> DAVID  
>  Look, can you not feed my dog bacon? You're gonna get him food-dependent.
> 
> AUNT HARRIET  
>  There's nothing wrong with a little treat now and then.
> 
> DAVID  
>  That's the problem, though. You're always giving him treats. He now expects it from you.
> 
> AUNT HARRIET  
>  I am his auntie. I must abide by the golden rule for all aunts, which is to shower my nephews in love and attention.
> 
> DAVID  
>  Maybe Achilles doesn't need your brand of love and attention.
> 
> AUNT HARRIET  
>  Is there something you want to say to me, _mon petit chou_?
> 
> BEATRICE LANCASTER  
>  I think I should excuse myself.
> 
> AUNT HARRIET  
>  (overlapping)  
>  I think that would be best.
> 
> DAVID  
>  (overlapping)  
>  No, please stay.
> 
> BEATRICE LANCASTER  
>  I'll be on the porch. Give me a holler when breakfast is done.

Beatrice exits.

> AUNT HARRIET  
>  Let's quit speaking in abstracts. Please tell me what you are feeling.
> 
> DAVID  
>  What I'm feeling? I'm feeling betrayed! You knowingly set me up with a murderous vigilante. Which was the whole reason you wanted me out here in the first place--to get me to fall in love with a glamorous psychopath!
> 
> AUNT HARRIET  
>  Have you? Fallen in love?
> 
> DAVID  
>  You haven't earned the right to hear that answer.
> 
> AUNT HARRIET  
>  I won't deny my matchmaking intentions, but you have completely misconstrued and misrepresented my judgement and goodwill for you.
> 
> DAVID  
>  Then by all means, explain your judgement.

Aunt Harriet turns off the burners and covers the food. She sits in Beatrice's vacated spot at the table.

Aunt Harriet motions for David to join her, but he refuses the offer. She takes a sip of Beatrice's coffee.

> AUNT HARRIET  
>  Please know that I only want the best for you, David. Watching you grow up with parents that didn't respect or understand your mind was incredibly trying for me personally. There were times that I wanted to take your parents to court for custody.
> 
> DAVID  
>  But you didn't.
> 
> AUNT HARRIET  
>  No. I was afraid of what would become of our family if I did such a thing.
> 
> DAVID  
>  So now that everyone's gone, you want a shot at raising me? Sorry, but that ship has sailed.
> 
> AUNT HARRIET  
>  I only want to provide you with the love that you have always deserved and should've been given long ago.
> 
> DAVID  
>  By setting me up with known killer?
> 
> AUNT HARRIET  
>  No, by pushing you in the direction of someone who is your equal.

David scoffs and turns his back to her while rummaging for a cup of coffee.

> AUNT HARRIET  
>  You both wear your solitude like a it's a badge of honor. But you are both too kind not to be cared for. Thomas Wright is one of those rare individuals that will act entirely selflessly, just as I know you to do. He has a passion for words and ideas-- your words and ideas, in fact.  
>  David stops his search.
> 
> AUNT HARRIET  
>  All I want is for you to find genuine happiness with another person for the first time in your life.

David turns back around and finally settles at the table.

> DAVID  
>  I understand your sentiment, I really do. But...
> 
> AUNT HARRIET  
>  But, what? What more is there left to say?
> 
> DAVID  
>  I can't... I mean... What will... How do I--
> 
> AUNT HARRIET  
>  What is it that is holding you back?
> 
> DAVID  
>  I'm afraid.
> 
> AUNT HARRIET  
>  Of him?
> 
> DAVID  
>  No...
> 
> AUNT HARRIET  
>  Of what others will think?
> 
> DAVID  
>  No... I'm afraid of who I'll be if I let him in.

Aunt Harriet takes David's hands in her own.

> AUNT HARRIET  
>  You'll be someone who loves without fear, and someone who is loved in return. Don't you think you deserve to become that person?

A beat.

> DAVID  
>  I think I'd like to try...and give myself the freedom to fearlessly love.
> 
> AUNT HARRIET  
>  That's my boy. That's all I've wanted for you.

Beatrice stands the kitchen doorway. The tender moment is broken.

> AUNT HARRIET  
>  Yes, _ma moitié_? Breakfast is waiting on the stove.
> 
> BEATRICE LANCASTER  
>  Breakfast can wait. I came in to let you know that a parade of protesters are congregating down the street.
> 
> DAVID  
>  A parade of protesters?
> 
> BEATRICE LANCASTER  
>  And if I didn't know any better, I'd say that they are heading to the police station.

* * *

EXT. PLEASANT VALLEY PD - DAY - LATER

David, Achilles, Aunt Harriet, and Beatrice pull up and exit from David's car.

The parking lot is crowded with Townspeople. A handful of TEENAGERS hold signs that say: "This is not Wright!" and "Injustice is not Wright!"

> BEATRICE LANCASTER  
>  How is there this much dog hair on my clothes?
> 
> AUNT HARRIET  
>  I told you that we should've walked, _cariño_.
> 
> BEATRICE LANCASTER  
>  And miss this? Nonsense.

David pushes through the crowd to the entrance of the police station.

Timid Cop mans the door. Lily is directly in front of him, seemingly leading the protest.

> LILY  
>  ...and for another thing, Mr. Wright has the right to an attorney. So where is Mr. Locke? I know for a fact that Mr. Wright has him on retainer.
> 
> TIMID COP  
>  Ma'am, once again, I'm not permitted to discuss an active investigation at this time.
> 
> DAVID  
>  Lily, what's going on?
> 
> LILY  
>  Mr. Truelove! Thank goodness you're here. I don't know if you know that--
> 
> DAVID  
>  That Thomas Wright was arrested? Yes.
> 
> LILY  
>  Well, aren't you going to do something about it? I think you're the only one who can set the story straight.

David scans the crowd and sees Mick and Casey at a distance, leaning against Mick's decommissioned cop car.

> DAVID  
>  Miss Roberts, I think you're right. Can you watch Achilles for me? I'll be back.

David crosses the parking lot and stops a few paces from Mick and Casey.

> MICK  
>  Care to explain what all of this hullabaloo is about?
> 
> DAVID  
>  Can't you tell? Private citizens are rallying behind a valued member of the community. It's rather heartwarming.
> 
> MICK  
>  Cut the crap. What are you doing, Truelove?
> 
> DAVID  
>  I'm righting a wrong.
> 
> MICK  
>  That's noble. The only problem is that there doesn't seem to be anything wrong here for you to fix. I believe we already covered everything last night during the intake and deposition.
> 
> DAVID  
>  You know that was only half of the story.
> 
> MICK  
>  Same end, different means. We have our unsub in custody. That's the only story I care about.
> 
> DAVID  
>  Casey is right.
> 
> CASEY  
>  About what?
> 
> DAVID  
>  Your mafia theory. It's true.
> 
> MICK  
>  C'mon, really? You expect me to believe that this entire town is in cahoots to, what? Kill off people who don't toe the line?
> 
> DAVID  
>  Pretty much.
> 
> CASEY  
>  That's...
> 
> MICK  
>  Batshit crazy. I bet you think that you're part of this mafia too, huh?
> 
> DAVID  
>  Of course not. But Thomas Wright's actions are not that of a serial killer, like we previously thought, but of a loaded weapon. Aimed to be used for others' purposes.
> 
> MICK  
>  Like an assassin? This just keeps getting wilder by the minute. I gotta hand it to you, Truelove, you are real good at spinning stories.

Townspeople begin turning away from the police station to watch David and Mick.

> DAVID  
>  You say that you live by facts, correct?
> 
> MICK  
>  Where are you going with this?
> 
> DAVID  
>  I want to lay out the facts. Fact one, you used my personal property without my permission to submit as evidence for the police.
> 
> MICK  
>  It’s not my fault that you left it behind. I’m not responsible for someone else’s carelessness.
> 
> DAVID  
>  Yes, but—-fact two—-you are a not a part of law enforcement, no matter how much I know you wish you were.
> 
> MICK  
>  How is that a fact? That’s pure speculation.
> 
> DAVID  
>  You mean to say that you are a member of law enforcement?
> 
> MICK  
>  No, I’m one step better since I serve the will of the people directly.
> 
> DAVID  
>  Look around then, what do you see as the will of the people in this case?

Mick observes the gathered Townspeople watching him.

> MICK  
>  I have a duty to Bruce Lancaster. And especially now that he’s dead, I have a duty to find the answers that he wanted.
> 
> DAVID  
>  Did it ever occur to you that Lancaster was guilty of the same crimes that he wanted you to investigate?
> 
> CASEY  
>  What do you mean?
> 
> DAVID  
>  I mean that Bruce Lancaster hired Thomas Wright to kill his own son. And who knows how many others. You thought this was a simple case of a serial killer rampaging across Pleasant County, but it’s so much bigger than that. It’s bigger than all of us.
> 
> MICK  
>  So, what? You want me to believe that Thomas Wright is not guilty of murdering dozens of innocent civilians.
> 
> DAVID  
>  That’s up for actual law enforcement to decide. But I know now that Thomas Wright is a good man and I will fight for him because of that fact.

The Townspeople part as Sheriff Livingston cuts through the crowd. Timid Cop, Lily, and Achilles follow behind.

David is facing away from the crowd, but Mick takes in the scene.

> MICK  
>  I didn’t want to believe it when Casey told me you had feelings for him. I hope you’re happy together.
> 
> DAVID  
>  I plan on it.

Mick scoffs and walks around his car to the driver's side.

> MICK  
>  Casey, let’s go.
> 
> CASEY  
>  No.
> 
> MICK  
>  No?
> 
> CASEY  
>  This is where the facts are, so I’m staying.

Mick makes to argue, but looks at the crowd and stops.

> MICK  
>  Suit yourself. You’ll have to find your own ride back to Pleasant Valley.
> 
> CASEY  
>  Don’t wait up.

David and Casey back away as Mick squeals out of the parking lot. Casey turns and disappears into the crowd.

> SHERIFF LIVINGSTON  
>  That was certainly something.

David finally notices the onlookers. Achilles trots up to his side.

> DAVID  
>  I think you just lost your key investigator, Sheriff.
> 
> SHERIFF LIVINGSTON  
>  (to the crowd)  
>  All charges against Thomas Wright have been dropped. You can pack up your signs and go home now.

Townspeople ad lib questions over one another.

> SHERIFF LIVINGSTON  
>  (to the crowd)  
>  Any questions will have to wait until we release our full report. Look for it in the Gazette on Monday.

Townspeople continue with questions, but dissipate when Sheriff Livingston starts back into the police station.

> SHERIFF LIVINGSTON  
>  Oh, David, can I have a word with you?

David and Sheriff Livingston walk and talk to the front door.

> DAVID  
>  I know that that whole thing was a little much.
> 
> SHERIFF LIVINGSTON  
>  I can't say I'm surprised.
> 
> DAVID  
>  Surprised?
> 
> SHERIFF LIVINGSTON  
>  About your involvement with McMillan.
> 
> DAVID  
>  What do you mean?
> 
> SHERIFF LIVINGSTON  
>  I figured you'd catch on eventually. I had hoped you wouldn't go looking for answers with someone like him but, then again, I tend to hope for the best in people.
> 
> DAVID  
>  And prepare for the worst.
> 
> SHERIFF LIVINGSTON  
>  Exactly. Which is why I'm indebted to someone like Thomas Wright. He has made and continues to make it possible for someone like me to keep the position that I do.
> 
> DAVID  
>  So the whole arrest and interrogation was...?
> 
> SHERIFF LIVINGSTON  
>  All a sham? Yes and no. McMillan had his moment in the sun, but this is my department at the end of the day. What I say goes.
> 
> DAVID  
>  But what about Mick? Aren't you worried that he'll tip off the state or someone else with more power than you?
> 
> SHERIFF LIVINGSTON  
>  This is not the first time that Thomas Wright has kept us safe here in Pleasant Grove. And it probably won't be the last.

David and Sheriff Livingston arrive at the police station entrance.

Thomas stands a few paces away from the entrance, unnoticed.

> SHERIFF LIVINGSTON  
>  This is where I leave you. I have a mountain of paperwork to tackle.
> 
> DAVID  
>  No rest for the wicked.
> 
> SHERIFF LIVINGSTON  
>  Now you're getting it. You're going to fit right in with us. That is, if you intend on staying?
> 
> DAVID  
>  That all depends on what comes next.

Sheriff Livingston exits into the station.

Both David and Thomas keep their distance.

David looks back at the dissipated crowd and sees Aunt Harriet and Beatrice, arms intertwined, holding court with the Red Hat Society ladies.

> AUNT HARRIET  
>  (over the noise of the crowd)  
>  ...that's all water under the bridge.
> 
> BEATRICE LANCASTER  
>  (over the noise of the crowd)  
>  So we've settled on a Monte Carlo theme.
> 
> AUNT HARRIET  
>  (over the noise of the crowd)  
>  Did we? I don't remember being privy to that conversation.
> 
> BEATRICE LANCASTER  
>  (over the noise of the crowd)  
>  It's either that or "A Night at the Movies."
> 
> AUNT HARRIET  
>  (over the noise of the crowd)  
>  Absolutely tasteless, perish the thought!

David sees Casey and Lily talking a few feet away. Their conversation is much more subdued.

> CASEY  
>  ...my preferred pronouns are they and them.
> 
> LILY  
>  Mine are she and her, even when I forget to take my E or shave like today.
> 
> CASEY  
>  I hadn't noticed. I think you look great.
> 
> LILY  
>  Thanks, but you don't have to say that.
> 
> CASEY  
>  No, I mean it, really...

David turns back to see Thomas watching him.

Achilles breaks their standoff by going to Thomas and sniffing for attention.

They both advance towards each other, one step at a time.

> DAVID  
>  I want to apologize.
> 
> THOMAS  
>  Apologize?
> 
> DAVID  
>  For this whole mess. For not believing you when you told me that you have always been honest with me. I was afraid.
> 
> THOMAS  
>  Of me?
> 
> DAVID  
>  Of myself. And you. And us.

They now stand inches apart.

> THOMAS  
>  Are you? Still afraid?
> 
> DAVID  
>  I'm trying not to be.
> 
> THOMAS  
>  Would you like help?
> 
> DAVID  
>  No. I'd like to find a port in the storm with you.
> 
> THOMAS  
>  That's a good line.
> 
> DAVID  
>  It is. I might have to use it in my next book.
> 
> THOMAS  
>  What'll it be about?
> 
> DAVID  
>  It'll be a departure from my usual mysteries. More true to life. A reclusive author arrives in a charming town and meets an equally charming man. The only problem is, the author thinks that the man is a serial killer.
> 
> THOMAS  
>  Wherever would he get that idea, I imagine?
> 
> DAVID  
>  But hijinks ensue and the author falls in love along the way.
> 
> THOMAS  
>  Does he now?
> 
> DAVID  
>  Yes.

They kiss.

> THOMAS  
>  Does this next book have a title?

ROLL CREDITS - TITLE CARD: A SERIAL KILLER'S GUIDE TO MEN AND MANSLAUGHTER.

> THOMAS (V.O.)  
>  Clever. I'd read it.
> 
> DAVID (V.O.)  
>  I thought so.


End file.
